U21075_E4.4F_booklet by Kunal Barve

K E Y N O T E S ROWC CFP S2022

Kunal A. Barve Kunal A. Barve U3bU21075 U21075

Keynotes ~ Compilation of ROWC exercises of S2022 ~ S2022

CFP

CEPT UNIVERSITY

Kunal A. Barve U3 U21075

Content Acknowledgements Introduction 1. Descriptions 1a. Describing Settings 1b. Describing Spaces 2. Documentation 2a. Documenting processes - Mapping 2b. Documenting processes - Joining Elements 3. Research 3a. Concept Note 3b. Essay 4. Perspectives List of Figures Bibliography -

7 9 11 12 16 27 28 42 75 76 82 105 110 118

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Acknowledgements I would like to extend my gratitude to my ROWC faculty Diana Romany, Janet Samuel and Nupur Jindal for guiding me through the tedious process of creative, descriptive and analytical writing at eight in the morning. Their structured approach to the course helped reduce the workload of ROWC. I would also like to thank my parents, sister and friends for giving me timely feeback as and when required.

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Introduction Keynotes presents a compilation of all exercises done in ROWC (Reading Objects, Writing Crafts) in the Spring 2022 semester. “Keynotes” is also an amalgamation of two concepts integral to ROWC i.e. keys and notes for both are vital in reflecting the creativity and thoughts of an individual. In essence, Keynotes is a series of highlights of my work; of an inspirational journey.

Introduction

1. Descriptions This section of ‘Descriptions’ deals with two exercises viz. ‘Describing Settings’ and ‘Describing Spaces’. Both these exercises deal with the skill of observations and propagation of these observations in an easy to understand manner. This skill of describing a space or a setting in an apt manner becomes important, to help a person who hasn’t experienced the space, understand and experience it. The skills of identifying architectural elements, their settings, their use and then accurately expressing these through the written word ha been developed.

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1a. Describing Settings A Rickshaw Ride Past Colonial Landmarks In A Rainy Champaknagar Professor Gangadharpanth Gaitonde, a respected historian and an amnesia patient, stumbled out of his nursing home onto Alexandria University Road. The sound of cars and bikes honking around him hurt his sensitive ears. He was in a place that he had known but didn’t know now. He walked aimlessly on the smooth and flat, broad footpath, under the shade of the trees while doing his best to weave through the throngs of people. Through the high rises he could just about see the dark clouds rolling in from over the hills, from over the lush green Kookaburras. Prof. Gaitonde continued along the way, past students enjoying freshly fried Wada pavs and spicy plates of Miisal at the popular restaurants that lined the footpath. Restaurants that he had probably once visited himself. All of a sudden, a jolt of past memories hit him as he stood in front of the famous Alexandria University. Its gray buildings with the expertly chiseled stone, wooden columns, outward projected

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balconies, its gothic style windows and its sloping roof gave him a burst of energy. He started sprinting past the 150 year old trees that lined the pavement, down Alexandria University Road to the one rickshaw stand he remembered. Baburao the rickshaw wala, having had lost three hundred rupees already in a game of cards, wasn’t having a great day till the moment Gaitonde jumped into his “Dhanno”. A hurried request to take the passenger around Champaknagar was quickly agreed upon and off went Baburao. Expertly swirling through the crowded mass of people crossing the road, Baburao decided that a detour along the newly made Emerald avenue was the best way forward. Gaitonde gazed out with amazement at the rapidly changing scenes. The wind blowing in his face and the occasional bright flash of sunlight in his eyes made him feel alive. A scenic road along a hyacinth filled river in his Champaknagar seemed impossible to him. Suddenly, the melodious chirpings of the birds stopped and were replaced instead by the pitter patter of rain drops. A light shower descended upon the city. The scent of wet mud filled the air. “The environment’s natural

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perfume!”exclaimed the professor much to Baburao’s astonishment.. People around him on bikes scampered to the pavements to find some shelter from the rain. The old wadas of the city always seemed more beautiful during the rains, thought Gaitonde as they whizzed past a few. With a congregation of people under its cantilevered balconies, the wadas looked stunning. Even though a couple of its brown mangalore tiles were dangling perilously, its plaster peeling off and its wood termite ridden, the beauty of the wada was perpetual. Knowing that he had to be back at the nursing home in sometime, Gaitonde decided that one more experience was all he could fathom for the day. Something surreal. Something like the place that Baburao was already heading to, a place like Champaknagar’s Kaleidoscope lane. A sea of colour invites all into this lane that sells ripped off merchandise at the cheapest possible rates. For Gaitonde, a person that had spent a good five to six years looking at just pale colours in his nursing home, a visual overload was in order. A flash of green at the key chain stall, a bright red “Koors” purse and a fluorescent orange “Nik” shirt caught his eye. The crowd of people and the colorful pieces of

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goods looked like coral reefs scattered in an ocean. With the sound of the light rain on the corrugated metal roofs along with some sunlight streaming through the holes in the tarp overhanging the lane, a beautiful scene was created that made Prof. Gaitonde fall in love with his city; his Champaknagar, once again. A rekindling of a romance. Passing by the bustling Champaknagar bus stop, through the elevated Maqbula chowk, past the famous cafe Pistachio and back onto the parallel running Alexandria University Road, Baburao and Gaitonde were confronted by a police stop. A police stop looking for a renowned historian. As Prof. Gaitonde’s “day out’’ came to an end, an astonished Baburao returned back to his stop, ready to engage himself in a game of cards till the next passenger came along.

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1b. Describing Spaces The Kund At Cept University: The Lonely Ghat The Kund is located on the north western boundary of the CEPT University campus in Ahmedabad. It is to the west of the CFP building and to the north of the Balwantrai N Brahmbhatt lecture hall. The location of the Kund at the western corner of the campus leads to it feeling like a secluded place. Designed to mimic the look of a ghat, the massive size and scale of the place in relation to the other open spaces provided on the campus always amazes anybody looking to use it for recreational or leisurely activities. The Kund is a sunken area surrounded by trees on two of its sides. It is surrounded with a high embankment wall that serves as a barrier for a strip of land for vegetation. The addition of these elements helps create a contrast between the surrounding brick buildings and the concrete Kund with its greenery. Since the trees serve as barriers and reduce the decibel levels of the traffic, a mixture of the sounds of birds chirping

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Figure 1 Kund Location At CEPT

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and of the traffic, near the Kund, in the mornings and evenings is surprisingly calming and enjoyable. It turns into a hum in the background interspersed with an occasional honk. Students can approach the Kund via the CFP building or via the lecture hall as well. On observation, the space looks to be designed for two things, firstly for conducting small events and secondly to provide people with an area for leisure activities. This is because there is a small stage on one side with multiple plug points located behind and at the same time the area has unrestricted access. The Kund does not have any ceilings and beams. The building elements include walls, steps, paver blocks and water spouts. Most of these building elements are made using RCC or reinforced cement concrete. The paver blocks are made using stone aggregate and hence a rough texture is what one feels when walking in the central depression. The use of kota stone flooring throughout the area is a great choice. Kota has a property wherein it cools down rapidly and hence the stone flooring in the kund remains relatively cooler and hence the entire surroundings remain a bit more cool throughout the day except in the afternoons. The

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Figure 2 Overview Of The Space

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lack of a ceiling/covering to the space would mean that the rays of the sun directly strike the seating of the Kund. Hence sitting in the afternoons becomes impossible with the scorching kota stone. With the sun rising in the east, the CFP building blocks most of the heat and sunlight and hence in the mornings, even though the Kund gets some sunlight, it stays relatively cool. The Kund has a waterfall type feature, due to the presence of the spouts. But this feature is never used by the university, maybe as a water saving/cost saving measure. The Kund offers multiple seating spaces due to it being a levelled structure as seen in Figure 1. The availability of plentiful space draws students looking for a quiet place to sketch, work on the laptop or even to have a quick cup of tea. Students looking to reach the central depression may do so by making use of the stairs provided on the two sides that are connected to the CFP building. It is important to note that the steps of the Kund are of proper dimensions i.e. the riser is one hundred fifty centimetres and the tread is three hundred centimetres. The use of the Kund keeps changing throughout the day. It goes from being an isolated place in the mornings and afternoons to being a hub

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Figure 3 Stage In The Kund

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of activity at night. On a first glance, the ghat-like design of the Kund evokes thoughts of it being a place where people meditate or practice yoga, or just enjoy the cool, calm morning breeze. Unfortunately, such activities for which the Kund seems perfect, do not take place in the area in the morning. This isolation of the area could be tracked down to two reasons, namely • The location of the Kund at the western corner thus breaking a link to the rest of the campus, • Its orientation. Being located in the west direction, behind the CFP building, does not spare the Kund from the rays of the sun. This reason of the Kund being highly exposed to the Sun is an important factor that affects the space’s usability. In the afternoon, the Kund bears the same isolated feeling. This is because of the afternoon sun being directly overhead. The direct sun rays heat up the Kota stone flooring and hence a mini heat zone is created near the Kund. During this period, all the people as well as the animals prefer the CFP basement as a hang out spot in the afternoon due to it being properly ventilated, covered and cool due to the presence of fans and a cross breeze from the Kund to the North lawns.

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Figure 4 Paver blocks

Figure 5 RCC Steps

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The main reason as to why the space is a wasted space would come down to the space not being covered. Having a vault or a shell as a covering could potentially enhance the usability of the space but this may interfere with the true intentions of the designer. Secondly, having the Kund surrounded by buildings on more than one side could have made it more user friendly in the afternoons since the entire Kund would have been covered by a shadow, thus bringing down the temperature within the space. The CFP Kund, when judged as a whole is an interesting space that seems to want to serve a particular problem regarding hangout spaces but when looked at its user friendliness and usage, a conclusion can be drawn that the Kund, though beautifully designed, is a wasted space in its current form unless some more adjustments are made to it like adding shades and more covered regions.

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2. Documentation This section of documentations consists of documenting the processes involved in two studio exercises viz. S11 Mapping a Neighbourhood and S13 Joining Elements. These exercises helped develop skills of documenting each and every step involved in the process of producing the final iteration of an exercise. An imporatant skill that was also learned in these exercises is the use of visual aids and how they supplement the written text.

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2a. Documenting Processes - Mapping Mapping a Mini Metropolis of Aundh, Pune The neighbourhood of Aundh, Pune has been mapped to understand the various salient features of the area. Aundh can be considered to be a mini metropolis of its own as countless facilities can be found in an area of 500*500 m. Thus a map depicting the differing characteristics of the peripheral streets of Aundh, with respect to the human activities conducted on these streets and the differing facades (of buildings on each street) has been made to provide an overview of the area to a visitor.

Part 1 - Process Identification of an AreaThe first step in the process of making the map involved selecting an area greater than or equal to two lakh fifty thousand square metres (2.5 lakh m2). The process of identification of the area was straightforward

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Figure 6 Selected Area

Note. The area demarcated in yellow represents the selected area. Notice the difference in the height and size of the buildings on the right side of the selected area as compared to the left side. Copyright 2022 by Kunal B.

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as the streets of the locality of Aundh are organised in the shape of a quadrilateral. This selection made using Google Earth can be seen in Figure 6. A major decision taken during this period was the inclusion of the slums as seen in figure 1, marked in red, located in the bottom left corner of the selected area. This inclusion would increase the area over the prescribed maximum. But, having the slums as a part of the map was important as they would help portray the varying composition of the neighbourhood with respect to the buildings.

Preliminary Observations of the Area + Identification of the Thematic focus Firstly, taking multiple rounds around the selected area helped generate a basic understanding of the locality. These initial observations, consisting of quick sketches (Figure 7), spotlighted the difference in the types of human activities taking place on these streets and these activities gave a particular identity for the street. A narrative in the form of a daily journal entry was then created on the

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Figure 7 Quick Initial Sketches

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basis of these observations. This narrative writing was an important step in the process as it helped compile all the observations and present a clear cut thematic focus that was to be mapped in an interesting manner. The thematic focus of the map, after the preliminary observations, was dialled down to mapping the different streets of the neighbourhood by classifying them as commercial, residential and slum.

Preparation of a BasemapThe next step was tracing a basemap which would serve as the base for all the information that had been collected. A basemap as seen in figure 8 was created for the selected area using a high resolution image of the selected area and AutoCAD. The built forms consisting of buildings and roads along with the vegetation are seen on the basemap. This step helped compress all the necessary information into multiple layers with different line weights, colours and line types. This process helped develop a clear understanding of the area as all elements belonging to a particular information layer became colour coded.

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Figure 8 Basemap

Note. The primary roads have been marked in red with smaller secondary roads marked in yellow. Red has been used for the roads since it pops out first and thus a clear boundary for the map is established. The blue outlines denote grounds whereas the grey denotes the buildings. The purple marks the student’s house. Copyright 2022 by Kunal B.

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Collection of Data On identification of the thematic focus, the next step in the process of mapping was the collection of data. Data had to be collected so as to provide some concrete backup to the thematic focus that was selected. This collection was done by clicking photographs of various important junctions on the peripheral streets that would help depict the characteristics (the building facades, the traffic different establishments generate of the streets. These photographs have been clicked at various times of the day in order to capture the true volumes of crowds that gather in a particular space. A sample image is shown in figure 9.

Samples for Data Representation A suitable style for representation was discussed with the faculty and their inputs regarding the portrayal along with past examples, influenced the style of representation. This style (figure 10), incorporated isometric sketches of facades so as to create a 3D sense. The style of using 3D

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Figure 9 Facade Of The Mall Located On A Peripheral Street

Note. The vehicular crowd on the street consisting of cars and rickshaws can be clearly seen. This photograph helps provide vital information about the traffic/congestion near the mall. Copyright 2022 by Kunal B.

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elevational sketches helps give the map a more realistic look while also helping to emphasize the different types of buildings on the streets and the kind of traffic that they generate.

Final Representation Decisions The final map was done digitally as this method would help simplify the process of adding colour to the map. The digital medium helps to simplify the design process and provides multiple options to experiment with various design styles.

PART 2 Explanation of the Final Map The map displays the buildings on the peripheral streets of the neighbourhood of Aundh, represented in 3D and 2D elevations. Each street shows a few buildings that accurately represent the nature of the street. Figure 12 shows the final map as a whole.

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Figure 10 Cognitive Map As A Sample Representation Style

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A zoomed in view of the map will reveal that humans and cars have been added to provide some context if needed. These humans and vehicles have been kept pretty blurred/light so as to not draw attention away from the main facades. Small zoomed in sketches on the side of the map have been given to help the reader develop a better understanding of the space that is being mapped. A street view, an elevated view and even sectional elevations serve the purpose of providing more details since they are on a smaller scale. The map has multiple small details that help accentuate the readability of the map. The main map is composed in the centre so as to highlight it as the main element and also to provide ample space on the side for the sketches. As for the details, the map, drawn to a scale of 1:100 has a scale visible in the bottom right corner along with a symbol to denote North (figure 13). A legend has been created so that any reader of the map is clearly able to comprehend the map without having to look closely at the drawing. Thus following a detailed process for the mapping exercise, a clear path can be seen connecting the thoughts of the designer from the selection of area to the final version. These illustrated maps with zoomed

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Figure 11 Showing The Scale And Legend

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in views provide any reader a glimpse into the neighbourhood of Aundh. Compiling all the little aspects of the map on a single artboard helps display the true nature of the locality. This map would come handy to anyone trying to understand the neighbourhood better.

Figure 12 Sample, Zoomed In Sectional Image

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Figure 13 Final Map

Note. Small details pointed out earlier like the scale, legend, zoomed in sketches can be seen. The reader should focus their attention on the composition of the map, and how this style of composition makes reading the map easier. Copyright 2022 by Kunal B.

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2b. Documenting Processes - Joining Elements Reel To Real : A Metal-Wood Model Introduction The exercise of “Joining Elements and Materials” was conducted to explore some common materials that are used in the construction process and to develop a comprehensive understanding of the various kinds of joineries that are possible. These joineries could be between pieces of the same material or between pieces of different materials. More emphasis was laid on shunning the use of commercially available hardware like screws, nuts etc. This exercise was conducted in groups of two and hence an understanding of teamwork, brainstorming ideas and combining of two ideas was developed.

Presentation Outlining Theory And Guidelines Of Exercise To start with the exercise a presentation was shared which had a brief

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introduction of the entire coursework and the expected outcome for the exercise. The presentation introduced the following : • Process of Making Structures • Types of operations and tools in wood and metal work • Types of Joinery (wood and metal joints) The pptt was just an introduction and just by viewing pictures and videos it was not possible to understand each and every tool, machine, and different joints of wood and metal. Thus following the ppt, a workshop orientation was organised for students.

Workshop Orientation On viewing of the ppt which highlighted the brief, a comprehensive workshop orientation was given. It was given as a way for students to understand the various tools available in the CEPT Workshop. This orientation would serve as a base not only for the exercise of S13 (joining elements and materials) but also for all future exercises partaken across the five years. The various “bays” or “sections” of the workshop were introduced along with what functions they serve. These bays introduced included the Fablab, wood workshop and metal workshop. A video

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highlighting the various tools available in each bay and the way to use these tools was shown. This was done so as to give the students a preliminary idea of all that is physically possible in the workshop. This helps by making sure that students do not spend time on designing unrealistic designs that could not be physically made. In the process, this step, also introduced the rules of the workshop to the students. Everyone was made aware that without shoes, entry into the workspace would be forbidden. Wearing loose clothes and clothes with loose sleeves was also prohibited. These rules were introduced for the safety of all students. Following the orientation, materials were distributed to all the students.

Allocation Of MaterialsDifferent sets of materials were distributed to each group of students. The sets included a metal rod, a metal pipe, wood and a metal sheet. Each set had one material that was provided in more quantity such that it was to be highlighted in the final model.

Design Process Designing the model was the main part of this exercise as the final

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outcome would be made on the basis of the design. Quick sketches were made to get the idea of material usage and overall form of the model. This stage had multiple failed designs (see Figure 14). The continuous process of making new sketches helped develop a preliminary understanding of the material. Every quick sketch was thoroughly discussed with the faculty to understand all the failures that could occur at every joint. Another issue that was faced was regarding the stability of the model. Here stability refers to the overall stability of the model and of each individual piece. The stability of the pieces would be achieved through the use of the joineries. After rectification of several mistakes, a final design was arrived upon. This design was discussed with the faculty and finalised. Subsequently, joints of each of the materials had to be decided. We were confronted by an issue at this stage. Questions arose as to which joint would work for the given wood piece. This was because the cross section of the wood piece was not big enough to accommodate all kinds of joineries and making the wrong kind of a joinery could result in chipping off more than required material. Browsing the net helped

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arrive at a tongue joint as shown in the figure 20. At the same time, to better understand the whole design and the joints, a sketchup model was prepared. This was done for two reasons. Firstly as a time saving mechanism and secondly to have a 3D model which would make the visualisation of the assemblage easier. Making separate sketches for each view could have made the process more time consuming and complicated. After many discussions with the faculty, a final sketchup model design, with joints, was prepared which was now to be discussed with workshop experts.

Prototype To understand the way the assemblage would look, a prototype (Figure 15) was made using cheap alternatives to replicate the actual available materials. Thermocol was used to replicate wood, black cardboard to replicate the metal plate, straws to replicate the metal rod and transparent flexi pipes to replicate metal pipes. This prototype helped understand at a rudimentary level the overall stability of the model and the way it would physically look. At this stage, problems arose regarding the amount of material that was available, especially with respect to the

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Figure 14 Images showing initial failed designs a.

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metal plate which was being used in excess in previous iterations of the assemblage. Small rectifications; like change of the size of metal plate pieces (cutting down height and width of plate pieces), to the design were made to counter these issues. The prototype thus also helped understand the amount of material being used. Using the thermocol, which is a compact material, and the straws, flexible members, also helped the group in understanding the ways in which the rod-wood and pipe-wood joints would work.

Consultation With Workshop Experts Regarding Design On finalisation of the design and making of the prototype, the wood and metal experts in the CEPT workshop were consulted to rectify any errors that they were able to pinpoint. This was an essential step as they have a heightened sense of what is possible with the available materials since they are in contact with these materials 24*7. Small questions regarding the joineries and how they would be made were posed to the group to understand the thought process behind designing certain joints. At this stage, two of the originally designed joints were asked to be changed to make it more stable. These joints have been highlighted in figures 16 and 17.

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Figure 15 Image showing the prototype of model

Note. The overall look of the final model was understood by making the prototype. Notice how the use of differentlycoloured material helps differentiate between the different material to be used. Copyright 2022 by Kunal B. and Jay C.

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These joints highlighted in figures 16 and 17 were two key junctions that had to be rectified. Issues highlighted about the first joint (figure 16) were that having the pipe and the plate so close to one another would offer a chance for a possible joinery and this was currently not being explored. At the same time, rectification of the model to how it is shown in figure 15 would also help in further exploring a 3 way joint i.e. a wood, pipe and plate joint. Rectification of the second issue (figure 17) was more important. According to the experts, cutting out a small cavity for the wooden tongue would make the wood very weak as the cuts for the cavity would break the horizontally running grains and hence a piece of the wood would easily break off. Cutting through the grains of the wood compromises the strength of the wooden piece and hence this would make the wooden joint unstable (Refer figure 19). Thus a new joinery had to be made. On discussion with the experts, we arrived upon a staircase joint as shown

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Figure 16 Image showing a joint requiring rectification

Figure 17 Image showing the wood joinery to be changed

Note. The overall look of the final model was understoodby making the prototype. Notice how the use of differentlycoloured material helps differentiate between the different material to be used. Copyright 2022 by Kunal B. and Jay C.

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in figure 20 and 21. According to the expert, this kind of a joint would be more visible due to the staircase line seen between the wooden pieces and theis kind of a joinery could also help explore the use of dowels. On rectification of all faults, the making of the actual model was commenced in the workshop.

Making Of Different Joints The making of the final model in the workshop was divided into two main portions namely wood work and metal work.

• Wood Work The assemblage had a singular wood-wood joint and multiple woodmetal joints. Any and all cuts relating to wood had to be specifically made in the wood workshop itself. Before starting the model, a live demo of two main machines ( viz. the Miter saw and the Band saw) that were allowed to be used by the students was given.

Cutting of wood -

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Figure 18 Image showing rectification of issue in figure 16 related to the pipe-plate-wood joint

Figure 19 Image highlighting failure of joint as discussed with workshop expert

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The miter saw is used to make cuts perpendicular to the longer side of a piece of wood. It can also achieve angled cuts. Markings, using a pencil, were made on the wood. These markings denoted the length at which the wood piece was to be cut in order to get the individual pieces of specific sizes for the assemblage. While making the markings on the wood piece, a 3mm gap had to be kept in order to account for wastage of material due to the thickness of the blade of the Miter saw. Hence on keeping a 3mm excess, a wood piece of the required amount could be accurately cut. Four wood pieces of lengths 28cm, 30 cm, 12 cm and 12 cm were cut on the miter saw.

Cutting down to get the joint The joint required by the group was what can be termed a “staircase” joint (figure20). Hence the required joinery had to be first accurately marked out on the two wood pieces that would be used in order to achieve this joint. The 30 cm piece of wood would serve as the base whereas the 28 cm tall wood piece would serve as the vertical member.

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Figure 20 Image showing expected view of joinery.

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The wood-wood joint that was finally achieved is shown in figure 20. These small precise cuts were achieved by making use of the band saw. The cuts had to be extremely accurate in order to avoid any gap in the joint. At the same time cutting off a bit extra would require the group to keep modifying the joint and hence eating away at the stability of the joint. On cutting of the wood pieces, all the cuts were sanded down in order to make the surfaces as smooth as possible. ●

Joining the Joinery -

The two wood pieces were then placed in their desired position and markings were made for 5 mm holes for inserting the wooden keys that would hold the joint together. These 5mm holes were made by clamping the wooden pieces down using a vice and were held together by hand. A hand drill was used with a 5mm drill bit. Holes in the wood were drilled instinctively. No marking could be made for the depth of the drilled hole. The entire joinery and how it would finally look has been shown in figure 21. As shown in figure 21, two dowels were inserted horizontally whereas one was inserted vertically. Having the dowels inserted in both directions helps keep the joinery stable even when force is applied on the joinery in two directions. Figure 22 shows the joinery and use of dowels in the

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Figure 21 Image showing a detailed view of final outcome of joinery on joining

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actual joinery. ●

Cuts in wood for metal elements -

The band saw was also used to make 1 mm cuts for inserting the metal plate. All these cuts that were made were measured cuts in order to get as accurate a model as possible. The drill machine was used to make holes (figures 23 & 24) of specific diameters for attaching the metal rod and metal pipe. Holes of 19 mm diameters were drilled for the pipe whereas 12 mm diameter holes were made for the rod. Each hole placement was thought out and marked properly as seen in figures 23 and 24 as well. The depth of each hole was also discussed beforehand with the metal workshop expert. Using an available setting, holes of specific depth (usually 2 cm deep or half way holes) were made. While drilling each hole, the wood piece has to be kept as stable as possible. Instructions from experts were given while drilling to bring down the drill bit to first check if the bit is hitting the centre and only then proceed.

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Figure 22 Image showing the wood-wood joinery

Figure 23 & 24 Image showing holes drilled in wood for attaching rod and pipe

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•

Metal work -

On finishing the woodwork, the group shifted to the metal workshop. Metal pipes, rods and plates would be cut, bent, twisted and threaded in the metal bay. Work in the bay could be divided mainly into three parts, work with the metal rods, with the metal pipes and thirdly with the metal plates. ●

Metal rods -

The assemblage had three main metal rod pieces. The lengths of all the required pieces were carefully calculated on sketchup using the dimension tool. This was done so as to simplify the process of measuring curved surfaces. Out of the three main rod segments, two were straight pieces while one was bent, thus, the logical way to deal with the length if the bent piece was to cut out the required length of the straight pieces and then to slowly trim down the bent piece as needed. The metal rod segments are visible in figure 26. The threading of the rods was a straightforward process. Initial grooves

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Figure 25 Images showing the group making the model

Figure 26 Image showing the metal rods

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were to be made on the piece using a hand tool available in the workshop. Subsequently the threading was done on a specially designed machine. The initial handmade grooves were meant to provide the machine with a few grooves to hold on to. They were used to give the machine initial traction. The threading was done so that nuts could be attached to the rod to hold it in place. This will be talked about in the assembly subsection. The bending of the metal rods was done using both the machine available and by hand. The machine available in the workshop had the capacity to make a 50 degree radius smooth bend (bend 1 in figure 27) whereas sharp 90 degree radius were done by band using a vice (bend 2 in figure 27). These two bends are visible in the model in figure 27. Bends in the rod were done for two reasons, firstly to explore the process of bending and secondly to understand geometric joints. ●

Metal pipes -

The metal pipe bending was done using the manual machine. This is evident from the smooth curve of the pipe as visible in figure 26 . Since the pipe was available in less quantity, only two pieces were possible to

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Figure 27 Image showing the bending in rod

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be cut from the entire length. The machine provides a smoother bend since it is able to bend pipes only at a predefined 50 degree radius. Thus a smooth bend and not an abrupt one is obtained. Since the diameter of the pipe was greater and since it was hollow, a rod and pipe joint could be done easily. These joineries could be explored since the smaller diameter rod could now be inserted into the pipe. Drilling of holes in the pipe could be done easily since the material to be drilled out was not a lot and hence it is cost saving as well. The rod was inserted into the pipe by drilling a 12mm dia. hole in the pipe using the drilling machine available in the metal workshop (figure 28). This drill works in a similar way to the one in the wood workshop. Bending of the pipe was a relatively easier job as it is a hollow member and thus not as rigid as a rod. One caution that had to be maintained while bending the pipe was that unequal force or a sudden force should not be applied on it. This was because the pipe being a hollow material could easily bend under the unequal force. ●

Metal Sheets -

Cutting and drilling holes in the metal sheet was the most difficult part as the whole process of cutting it into pieces was to be done with a

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Figure 28 Image shows a zoomed in view of the pipe and rod joint

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machine. The holes were accurately drilled by marking the exact points on the plate piece. Drilling was done carefully since the metal sheet could not be clamped to the machine, due to it having less thickness, and hence the plate had to be held by hand while drilling. The vibrations of the drill would cause the sheet to vibrate and shake and hence getting the precision spot on was tough.

AssemblyAfter making every joint and individual pieces of metal rods, metal sheets and metal pipe all these parts were to be assembled with hardware like screws, nuts, bolts etc. On discussion with the workshop experts it became evident that certain joints would require the use of hardware and they would not be possible otherwise. Hence a slight deviation from the initial goal of not using hardware is seen. All the screws were to be drilled in different places with the help of an electric hand drill. One thing that had to be kept in mind was that the drill had to be held perpendicular to the wooden/metal piece. This would ensure that the screw went straight in at 90 degrees and not at any other angle. If the screw was screwed in at any other angle, chances of it breaking inside the model would be higher and thus removing the screw at a later time

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Figure 29 Image shows Metal Cutting Machine

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would be extremely difficult. Another issue was that the screw could damage the wood. While drilling in the screw, the wood could be splintered or broken and hence this was to be done very carefully. All the pieces were accurately joined together with screws. Some of the metal pipes and rods in the model were fitted directly without any screws into the hole made in the wood with the help of a hammer. These were geometrical joints.

Exploded DrawingsExploded drawings (figure 30) were made as it is difficult for a person to understand the joinery directly seeing the physical model so the exploded drawing helps a person understand each and every joinery easily. After making the final model, exploded drawings were made in sketchup as the sketchup model gives a 360 degree view of the model as well accurate dimensioning can be done. According to this. final physical model changes were made in the sketchup model and hardware like screws, nuts, bolts etc were added in the sketchup. Dimensions were added to the exploded drawings.

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Figure 30 Image showing a detailed view of final outcome a.

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Cost EstimationCost estimation of the material used in the model was done. Cost estimation was done to understand the overall cost of making the model. It included the costs of hardware, material, amount of material used as well as the labour cost. This helped us understand the amount of money required to make real life objects/installations. Rates of each material were already provided. An excel sheet was made that had a total number of materials with different sizes, its cost, and overall cost of material. This overall cost also included the labour cost of the wood and metal workshop. See figure 31 for cost estimation sheet.

Part 2- Final Outcome Overall the final model (figure 32) was stable. Each and every joint was perfectly attached to each other. The bended metal rod and metal pipe that were attached without using any kind of hardware were also stable. The wood of the model was splintering in a couple of places under pressure of the pipe and rod joints but yet the model was stable. A number of joints were explored. We came to several conclusions like • Hammering in of rods and pipes worked well as a joint in itself.

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Figure 31 Image of Cost estimation sheet

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•

At the same time an observation regarding the wooden dowels was also made. The dowels were not keeping the wooden joinery as stable as needed but having a metal plate piece over the joint helped secure it in place. The use of the screws was also essential to hold the metal plate and wood pieces together.

The workmanship, though not the best, was pretty good for a first attempt. Multiple joineries as visible in the pictures had been explored and a final submission of all the compiled sheets and model was made.

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Figure 32 Image showing the final model

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3. Research This section consists of two exercises viz. “Concept Note” and “Essay”. The two exercises work in continuation with one other. The concept note serves as a brief introduction to the essay which then expands on all points mentioned in the concept note. Students were required to compare the works of two architects and develop analytic and descriptive skills.

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3a. Concept Note Play of light and Volumes The similarities and differences in the design approaches of Louis I. Kahn and Tadao Ando towards public spaces in the 20th Century Modernism; an architectural style and philosophy that influenced a majority of architects in the 20th century, was usually associated with an analytical approach to the function of buildings, rational use of materials and structural innovation. It was characterized by an emphasis on volume, asymmetrical compositions and minimal ornamentation. Contemporary architecture was a style that started in the 1960s after the end of the modernist style. Contemporary architecture elaborated on the beliefs of modernism while providing the added advantage of having at their disposal an arsenal of innovative materials and building methods. Louis Kahn and Tadao Ando were architects belonging to different beliefs of design. On one side was Kahn who believed in modernism whereas Ando believed in the contemporary principles which had the

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modernism beliefs as their base. Even then similarities in their work existed. The similarity of the effortless use of light and volume by both the architects in their respective buildings; Phillips Exeter Academy Library and the Church of Light, to achieve a certain required purpose and to promote a specific activity is the focus of this essay. Along with that, the use of material to achieve their respective purposes will also be discussed. Louis Kahn was a late modernist who incorporated the style of monumentalism in his buildings. Louis Kahn was well known for striking a balance between modern architecture and traditional architecture. His ability to understand the demands of a client and to rethink a certain function is extraordinary. Certain patterns can be seen throughout his work including his use of wood, concrete, brick and stone. His affection for these materials is seen even in the Phillips Exeter Academy Library. The wood contrasted the stone by giving the spaces a sense of warmth and a glow that welcomed readers when the natural light flooded upon this natural material. Tadao Ando’s architecture style is classified as brutalist and contemporary. The term brutalist architecture is used in context with

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blocky, rigid geometric buildings with large scale use of poured cement concrete. Working in Japan, Ando’s self taught style was highly influenced by the style of Le Corbusier. His use of concrete is widely seen in all the buildings he designs. In the Church of Light, he makes use of the material to induce darkness on worshipers inside the building. The concrete adds to the darkness of the church by creating a more humble, meditative place of worship (Kroll, 2011). Though the architectural styles of both architects differ, both Kahn and Ando are engaged in an experiment involving volumes and light along with the use of material to induce their desired result. On one hand, Khan makes use of windows arranged in a grid like pattern to invite people to the periphery of the building to read a book and on the other hand, Ando deprives the users of his building the opportunity to view things on the outside and thus this darkness that he casts encourages people to stay within this place of worship that he has created. Both architects explore the use of silence. Kahn makes use of his monumentalist ideas to encourage people to silence. He induces it in the library in two ways; firstly through the fact that it is a library and secondly through his monumentalist/grandiose design. Ando induces it upon the

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Figure 33 Image Showing The Interior Of The Phillips Exeter Academy Library Building

Figure 34 Image Showing The Interior Of The Church Of Light

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people that visit his building through the place’s actual use and secondly through the use of the material and the number of openings he provides. Key differences exist in the way that both the designers have designed their buildings. Khan makes use of intentionally elongated paths around his building to make an impression on users. This path of movement further explores the monumentalist ideology that Kahn employs (AD Classics: Exeter Library, 2010). Kahn uses his design to induce a desired movement in people. He has created a radiating path within his structure. The Church of light on the other hand has a straightforward entrance since the real impression tha Ando wishes to create is on the inside. The overbearing use of RCC for the entryway may enforce the idea of submission to god/to faith. Thus, the essay wishes to compare the use of light, volumes and materials by both the above mentioned desires in achieving the desired use of the space. An attempt will also be made to understand the thought process behind the construction of these buildings.

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Figure 35 Image Showing The Exterior Of The Phillips Exeter Academy Library Building

Figure 36 Image Showing The Exterior Of The Church Of Light

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3a. Research The Phillips Exeter Library Building And The Church Of Light: Exploring the Interaction Of Form and Material With Light Abstract

The following essay compares the works of Louis Kahn and Tadao Ando. More specifically the Phillips Exeter Library Building (1965) and the Church Of Light (1989). This comparison focuses on the way both modernist architects design their own public use buildings, and the various traits of their buildings like form, material, entrances, openings, etc. At the same time, on closer observation of the buildings, it was determined that understanding the way both the architects use light in their respective buildings would also be a worthy comparison. The use of light differs in the two buildings since Kahn uses the brightness of light whereas Ando plays around with the shadows it casts.

Keywords -

Modernism, form, material, light, public spaces, Tadao Ando, Louis Kahn, Shadows, Openings, Induced silence 82

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• Introduction to Modernism Modernist architecture is a style that emerged in the early twentieth century in response to the changes brought about by society and technology (Modern Architecture, 2021). An emphasis on volume, asymmetrical designs and minimal ornamentation was seen. The modernist characteristics of the use of form and material will be explored in this essay. One of the overarching principles of modernism was that ‘form follows function’, meaning that design should derive directly from purpose (Modernist architecture, 2021). According to modernist principles, the building form should have a simplicity and clarity, with the elimination of unnecessary detail (Modernist architecture, 2021)to make form and function as one. The function of the building decides the form whereas the form of the building also describes the function of the built form. At the same time, the use of machine made material was also promoted. This was because affordable housing and solving economic inequality were central to the modernist agenda. Industrializing the building process would drive down costs and thus help modernists achieve their goals. Thus a boom in the usage of new construction techniques and materials such as concrete,glass and steel which would

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reduce costs was seen (V&A , n.d.). This would also allow for massproduction.

• Essay Outline & goal This essay compares the work of two architects with one another based on the way in which they make use of form, material and light in their respective buildings. The buildings being compared here are the Phillips Exeter Academy Library building (1965) by Louis Kahn and the Church of Light (1989) by Tadao Ando. •

Comparison of the Architects -

Louis Kahn was a late modernist who incorporated the style of monumentalism in his buildings. Monumentalism in built forms could be characterized by the use of sober and grand facades. He was well known for striking a balance between modern architecture and traditional architecture. Tadao Ando is a contemporary architect whose design base lay in the brutalism style. Ando was a contemporary architect who developed his designs based on modernist principles like

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form, the use of material, minimal ornamentation and a play of volumes. An element of brutalism is seen widely throughout his work and this brutalism is brought upon by his use of concrete. Kahn’s reliance on raw aesthetics achieved by the material he uses can be widely seen throughout his work as well as in the building that will be compared. Circular depressions, patterns and cuboidal forms can also be noticed. Though he followed modernism, Kahn designed his interiors more intricately than other modernist architects. An ornateness is felt in Kahn’s building purely through the material that he uses. On the other hand, Ando’s use of concrete makes his buildings provide a sense of weightlessness and cleanliness. This is also a result of his minimalist interiors as well as exteriors. Louis Kahn widely made use of light in his buildings. Light was a central element in Kahn’s philosophy because he regarded it as a “giver of all presences”; “all material in nature, the mountains, the streams, the air and we, are made of Light which has been spent, and this crumpled mass called material casts a shadow, and the shadow belongs to Light” (Schielke, n.d). Throughout Kahn’s work, he makes use of openings to

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guide light in. The play of light, but more importantly, its shadow and the mysteriousness it creates is what he explored. At the same time, Ando makes use of light in most of his buildings to different effects. As stated by Ando, light for him is an important controlling factor and that he creates areas using thick concrete walls so as to create personal private spaces in a city’s environment and thus he uses light to beautify his interiors. (Kroll, 2011).

• Comparison of the buildings a) Monumentalism v Brutalism Key features of monumental architecture are the use of symmetry, repetitions and rhythm. Plain, usually single material, facades are also a key feature of this style. On the other hand brutalism is a style that emerged in the 1950s and grew out of the early-20th century modernist movement (Brutalism, 2022). Brutalist buildings are characterized by their massive, monolithic and ‘blocky’ appearance with a rigid geometric style and large-scale use of poured concrete (Brutalism, 2022). These terms have been explained along with some of their key features since

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Figure 37 Image Showing The Surroundings Of Phillips Exeter Academy Library Building

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most of these would be visible as well as pointed out to the readers throughout the essay. b) Location of the buildings The Phillips Exeter Library building is a nine storied library, designed by Louis Kahn in 1965 and located in Exeter, New Hampshire, USA. It is a lone building and not a complex. It is located centrally on the Phillips Exeter Academy premises. It can be described as having a cubical design. Tadao Ando’s Church of Light is the main chapel of a Protestant church called the Ibaraki Kasugaoka Church, located in Osaka, Japan. The buildings of the church including Ando’s main chapel are arranged in a clustered pattern. The design of the building is cuboidal in nature. c) Surroundings The surroundings of the Library building (figure 37) have sparse tree cover but an abundance of grass lawns. This is a characteristic of a university settlement i.e. small clusters of buildings located at short distances. At the same time this is a characteristic of the suburbs in America. Ando’s

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Figure 38 Image showing the surroundings of the Church of Light and its location

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Church Of Light is located in a densely packed neighbourhood of Osaka as seen in figure 38. The building has a small patch of lush greenery on its property. d) Exterior Kahn has made use of locally manufactured Exeter bricks and wood for framing the windows. A slight contrast is created between the wooden frames of the windows and the deep brown of the exeter brick. The exterior of Ando’s building is plain and has been made using concrete. The building has a single opening in the form of a cruciform cut into the concrete. This cruciform has been glass covered, something that the designer did not originally intend to do. The Exeter bricks used by Kahn were also special. They were produced at the Eno brickyard in Exeter and the ones used in the academy were part of the final batch which was produced. Eno produced distinctive waterstruck bricks, famed for their durability, rough texture and irregular color (Garrity, 2019). The regular dark and light brown of the brick in a course breaks the monotonous look that a brick facade may give (figure 39).

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Figure 39 Image Showing an Exeter brick wall

Figure 40 Image showing Ando’s “silky smooth” concrete

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On the other hand, Ando makes use of a special recipe to make the concrete he uses. Ando uses “silky smooth concrete” (figure 40) as his signature material (Clarkson, 2006). The concrete is cast in place and requires perfect planning and execution (Clarkson, 2006). It is an unforgiving material and the “smooth as-cast” finish is the most difficult concrete finish to achieve (Clarkson, 2006). Instead of using wood which imparts impressions of its grains on the concrete, Ando, since the 1970s, has used plywood (Clarkson, 2006). This is because the plastic on the plywood imparts a smooth finish. The finished product should be virtually free of bug holes (air bubbles trapped at the formwork surfaces), with clear pattern lines and crisp, sharp corners and edges (Clarkson, 2006). e) Openings The exterior of the Exeter library building is adorned with glass windows arranged in a grid pattern (figure 41). This creates a symmetry in the building design. These openings are permanently covered. At the same time, Kahn disliked having the entrance dominating the exterior of the building and hence he took the decision of concealing the entrance behind the arcade of columns on the ground floor. Ando on the other

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Figure 41 Image showing the glass window pattern on Library Building

Figure 42 Image showing the cruciform opening

Note. The glass covering that was attached later is seen in the image. Copyright n.d. by Antje V.

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hand has kept his building devoid of openings save for one (figure 42). It is common for churches to have a multitude of windows to let natural light stream in but this design element of Ando’s helps differentiate his building from other common designs. One indirectly enters the church by slipping between two volumes present on the church site, one that contains the Sunday school and the other that contains the worship hall (Tadao Ando, n.d.). f) Pathways to entrance The Exeter library building has been designed in a way that to approach the entrance, one has to take a path that curves towards the building from the main street. This design choice is a technique of Louis Kahn’s to build upon the grandiose nature of his building that he wishes to impart to a viewer (figure 43). The approach to the Church of Light is drastically different from the library building. One approaches the church through the residential neighbourhood that it is located in. Hence there is no build up of anticipation while approaching the building because it comes into view quite abruptly (figure 44) as opposed to the library.

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Figure 43 Image showing path to Library Building

Figure 44 Images showing path towards Church of Light

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Interiors

The Phillips Exeter Library Building has a central atrium that rises up from the ground floor till the top floor (figure 45). A glass opening closes off the atrium at the top. It floods the library with natural light which interacts with the wood and concrete used in the interiors (figure 46). A circulation desk on the ground floor guides readers to their desired book. Small reading tables and work tables have also been placed near the glass openings of the library (figure 47). Placing the circulation desk closer to the center of library activities ensured that service took priority over supervision (Design of the Library, n.d.). The interiors of the church of light have been kept bare i.e. without ornamentation. On entering the space, a downward slope can be seen going towards the central cruciform. The space slowly opens up, enlarging towards slope thus creating a pull for any viewer towards the cruciform. Benches align the sides of the space with a walkway towards the cruciform. By keeping the amount of openings to a minimum, the power of the light emanating from the crucifix is intensified (Nyawara, n.d.). Refer figure 48 and 49.

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Figure 45 Image showing interiors of library building

Figure 46 Images showing the interiors of the Library Building

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• Comparison of buildings with respect to the use of light The way light interacts with both the designers’ buildings also differs. Light interacting with Kahn’s library generates a warmth due to its interaction with the wood, brick and concrete used on the inside. On the other hand, the interaction of light with Ando’s building greatly differs. Light interacting with the concrete in Ando’s building seems to give the building more weight. “The walls let the light diffuse and dissolve into the interior, which is kept bare and minimal. It is almost as if you can see each particle of light traveling through the air, bouncing off the walls, changing direction and dispersing. The dimming of the interior light heightens the strength and preciousness of the light that first enters the space through the cross. It also emphasizes the shadowy darkness, dense when close to gleaming cross but becoming softer as the light starts to dissolve into the air” (Church Of The Light Designed By Tadao Ando, n.d.).

• Comparison with respect to use of openings A similarity that can be noticed in the two buildings is the use of light

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Figure 47 Images showing the interiors of the Library Building

Figure 48 & 49 Image showing the interiors of the Church of Light

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and openings to induce silence. As discussed earlier, Kahn, in contrast to Ando, makes use of numerous covered openings. Throughout his body of work, Kahn has played with shadows and has regarded shadows as a material of his buildings, but here, in the library building, Kahn makes use of light in a different way. According to him shadows generate silence, awe and render a person stationary and thus in the library building, Kahn uses light to generate silence, awe but instead of rendering a person stationary, he induces movement. Both the buildings being compared are places of silence due to them being a library and a place of worship but even then, both the designers enforce this silence using their own design techniques. Kahn’s design has an openness to silence whereas Ando’s design enforces an inward looking silence. Kahn’s design necessitates users to pick a book and to walk towards seating places placed near windows (figure 47). The design of the Phillips Exeter Academy campus is such that the area surrounding the library is devoid of other structures and hence a view filled with greenery and dotted with trees induces a silence over the reader. Ando on the other hand makes use of a single opening in the form of a cruciform that serves as the cross in the church when light passes through it (figure

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48). Users of the space have described that the use of the concrete along with the lack of openings creates a sense of emptiness due to the darkness. This emptiness induces a silence over people either due to the submission of people to the dark or because of their mortification (Church Of The Light By Tadao Ando, n.d.).

• Comparison of the use of openings and paths Moving on to the next aspect of comparison, both architects also use entrances and paths of movement in differing ways. Kahn makes use of intentionally elongated paths around his building to make an impression on users (figure 50). This path of movement further explores the monumentalist ideology that Kahn employs (AD Classics: Exeter Library, 2010). The entrance to the building is a plain wooden door that leads into a vast atrium. The use of the plain simple door may be to downplay the design of the interior. It serves as Kahn’s method of downplaying expectations. The Church of light on the other hand has a straightforward path since the real impression that Ando wishes to create is on the inside. The overbearing use of RCC for the entryway may

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enforce the idea of submission to god/to faith. Hence this essay tries to understand the differences and the similarities in the use of form and material by both the architects in their respective buildings and also the use of light to induce silence and its interaction with the material used in the buildings . Both Kahn and Ando made use of light, form and materials in a similar manner even though they came from different streams of modernism and also from different places in the world. It can be concluded that both the architects have an acute sense of the use of light and how to generate desired emotions and feelings through its use.

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Figure 50 Image showing entrance ways to Library building

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4 . Perspectives This exercise introduced us to other arts and sciences around us and gave us a chance to develop one’s own perspective regarding topics that may have been discussed with the guest speakers.

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Reading Between The Lines

Propagation Of Rebellious Thoughts Through Art Since the 19th century, the idea that art stood as a means of imitation has been quickly replaced by the notion that art stands as a means of expression; and in my opinion, rightly so. There has been widespread discourse on how art forms have been influenced and in some cases rendered notorious in the face of political, religious and social changes across the fabric of civilization. Art has served many purposes over time and provided insights into studying history. For instance, a lot about older Indian civilisation such as those of Harappa and Mohenjodaro has been understood through carvings and paintings on recovered artifacts and tools. While such vestiges have been used to understand the ways of life from older times, other art forms like poetry and dance dramas were used as channels to arouse nationalist sentiments in many present day European countries. While it has been established that various art forms have been employed in ways to serve many purposes, it is also true that the repertoire of art

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has been vast in its expanse. Productions of art forms from a given time period are usually connoted as reflections of only the prominent thought or sentiment prevailing at the time. However, humans and hence ideas that come from them are the same; not just across places but also across time. There are a lot of compositions that could be considered anachronistic for the time they come from, however they carry in them a lot of ideas and messages that seem congruent with today’s social fabric. Specifically for this essay, the forward thinking thoughts from Marathi literature will be pointed out. It highlights the presence of anachronistic thoughts even in local languages. •

Sant Tukaram, who was by caste a shudra, in a number of his poems repeatedly questions multiple social norms. In an abhang titled “Teerth dhonda pani dev rokada sajjani”, Tukaram poignantly points out that God doesn’t exist in the stone structures that we make for him, rather he exists in the minds of the sages who recite his prayers. Thus Tukaram propagates the message of God being in all humans and not just in a stone structure that encloses and encircles his idol.

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Abhangs like these were specifically powerful since they came out at a time when people were kept from entering religious places if they belonged to a low caste. Another abhang of Tukaram titled “Bhagve tari shwan sahaj tayacha vesh” questions the greatness of sages. He writes that just because someone wears a saffron coloured dress, that person doesn’t become great. With this justification, a dog wearing a saffron cloth would also be learned and great. This could be interpreted as Tukaram’s opposition to the caste system where these learned men were usually brahmins. •

Another example of propagation of equality in the marathi language is the annual festival called “Wari”. This annual celebration originated from the work of sants in Maharashtra. Their poems revolving around equality of people regardless of caste, gender or sexual orientation is another example of how rebellious literature moved people to action and how it continues to affect the lives of people. The origins of this “varkari” movement can be traced to eighteenth century Maharashtra. Warkari refers to an annual migration by pilgrims or warkaris to Pandharpur carrying palkhi’s

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of the saints from their places of enlightenment. The festival becomes a large congregation of people moving towards the town of Pandharpur to worship Vitthal. The warkaris do not discriminate between caste and gender. The entire congregation chants abhangs propagating equality and humanity. It can be seen that thoughts that one refers to today as forward thinking existed even during the previous centuries. These thoughts were lost in the fabric of time due to their method of propagation. Even the example of the Wari movement that has been mentioned above has seen a dip in participation of the younger generation over the past couple of years. It shouldn’t be surprising then that the messages and ideas concealed within these artistic creations tend to be forgotten since the art form itself begins to lose popularity. Thus it becomes important to adapt these rebellious thoughts of great men and women of past ages to socially understood methods. This could be the translation of ideas to the kind of language spoken today since over the years the way a language is spoken among the people also evolves.

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List Of Figures Cover Page : CFP Sketch. Copyright : 2022 by CFP, Kunal B. Figure 1 : Kund Location at CEPT. Copyright : 2022 by CFP, Jay C. Figure 2 : Overview Of The Space. Copyright : 2022 by CFP, Kunal B Figure 3 : Stage In The Kund. Copyright : 2022 by CFP, Kunal B Figure 4 : Paver Blocks. Copyright : 2022 by CFP, Kunal B Figure 5 : RCC Steps. Copyright : 2022 by CFP, Kunal B Figure 6 : Selected Area. Copyright : 2022 by CFP, Kunal B Figure 7 : Quick Initial Sketches. Copyright : 2022 by CFP, Kunal B Figure 8 : Basemap. Copyright : 2022 by CFP, Kunal B Figure 9 : Facade Of The Mall Located On A Peripheral Street. Copyright : 2022 by CFP, Kunal B Figure 10 : Cognitive Map As A Sample Representation Style. Copyright : 2022 by CFP, Kunal B Figure 11 : Showing The Scale And Legend. Copyright : 2022 by CFP, Kunal B Figure 12 : Sample, Zoomed In Sectional Image. Copyright : 2022 by CFP, Kunal B Figure 13 : Final Map. Copyright : 2022 by CFP, Kunal B. 110 Keynotes S2022

Figure 14 : Images showing initial failed designs. Copyright : 2022 by CFP, Kunal B. and Jay C. Figure 15 : Image showing the prototype of model. Copyright : 2022 by CFP, Kunal B. and Jay C. Figure 16 : Image showing a joint requiring rectification. Copyright : 2022 by CFP, Kunal B. and Jay C. Figure 17 : Image showing wood joint to be changed. Copyright : 2022 by CFP, Kunal B. and Jay C. Figure 18 : Image showing rectification of issue in figure 16 related to the pipe-plate-wood joint. Copyright : 2022 by CFP, Kunal B. and Jay C. Figure 19 : Image highlighting failure of joint as discussed with workshop expert. Copyright : 2022 by CFP, Kunal B. and Jay C. Figure 20 : Image showing expected view of joinery. Copyright : 2022 by CFP,Kunal B. and Jay C. Figure 21 : Image showing a detailed view of final outcome of joinery on joining. Copyright : 2022 by CFP, Kunal B. and Jay C. Figure 22 : Image showing the wood-wood joinery. Copyright : 2022 by CFP, Kunal B. and Jay C. Figure 23 : Image showing holes drilled in wood for attaching rod and pipe. Copyright : 2022 by CFP, Kunal B. and Jay C.

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Figure 24 : Image showing holes drilled in wood for attaching rod and pipe. Copyright : 2022 by CFP, Kunal B. and Jay C. Figure 25 : Images showing the group making the model. Copyright : 2022 by CFP, Kunal B. and Jay C. Figure 26 : Image showing the metal rods. Copyright : 2022 by CFP, Kunal B. and Jay C. Figure 27 : Image showing the bending in rod. Copyright : 2022 by CFP, Kunal B. and Jay C. Figure 28 : Image shows a zoomed in view of the pipe and rod joint. Copyright : 2022 by CFP,Kunal B. and Jay C. Figure 29 : Image shows Metal Cutting Machine. Copyright : 2022 by CFP, Kunal B. and Jay C. Figure 30 : Image showing a detailed view of final outcome. Copyright : 2022 by CFP,Kunal B. and Jay C. Figure 31 : Image of Cost estimation sheet. Copyright : 2022 by CFP, Kunal B. and Jay C. Figure 32 : Image showing the final model. Copyright : 2022 by CFP, Kunal B. and Jay C. Figure 33 : Image Showing The Interior Of The Phillips Exeter Academy Library Building. Copyright : 2011 by Xavier de. J.

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Figure 34 : Image Showing The Interior Of The Church Of Light. Copyright : 2006 by Bergmann Figure 35 : Image Showing The Exterior Of The Phillips Exeter Academy Library Building. Copyright : n.d by Anonymous. Figure 36 : Image Showing The Exterior Of The Church Of Light. Copyright : 2017 by Anonymous. Figure 37 : Image Showing The Surroundings Of Phillips Exeter Academy Library Building. Copyright : 2022 by CFP, Kunal B. Figure 38 : Image showing the surroundings of the Church of Light and its location. Copyright : 2022 by CFP, Kunal B. Figure 39 : Image Showing an Exeter brick wall. Copyright : 2012 by Anonymous. Figure 40 : Image showing Ando’s “silky smooth” concrete. Copyright : 2008 by sidsmeets Figure 41 : Image showing the glass window pattern on Library Building. Copyright : 2022 by CFP, Kunal B. Figure 42 : Image showing the cruciform opening. Copyright : n.d. by Antje V. Figure 43 : Image showing path to Library Building. Copyright : n.d. by Xavier de J. Figure 44 : Images showing path towards Church of light. Copyright : 2022 by CFP, Kunal B. List Of Figures

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Figure 45 : Image showing interiors of library building. Copyright : n.d. by Kiel B. Figure 46 : Images showing the interiors of the Library Building. Copyright : 2022 by CFP, Kunal B Figure 47 : Images showing the interiors of the Library Building. Copyright : n.d. by Xavier de. J. Figure 48 : Image showing the interiors of the Church of Light. Copyright : n.d by Anonymous Figure 49 : Image showing the interiors of the Church of Light.Copyright : 2007 by Zeballos Figure 50 : Image showing entrance ways to Library building. Copyright 2022 by Kunal B. Back Cover : CFP Sketch. Copyright : 2022 by CFP, Kunal B.

Abbreviations used ROWC - Reading Objects, Writing Craft ppt - Powerpoint Presentation

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Bibliography • AD Classics: Exeter Library (Class of 1945 Library) (2010). Archdaily https://www.archdaily.com/63683/ad-classics-exeter-library-class-of1945-library-louis-kahn • Brown, P. (2016). The Relationship Between Japanese and Modernist Architecture. Design Culture and History. Medium.com https://medium.com/design-culture-history/the-relationship-betweenjapanese-and-modernist-architecture-7faef7e3b1ab • Brutalism (2022). Designing buildings.co.uk https://www.designingbuildings.co.uk/wiki/Brutalism#:~:text=Brutalism%20 was%20generally%20characterised%20by,grouped%20into%20a%20 unified%20whole. • Church of Light By Ando (n.d.). Archute https://www.archute.com/churchof-the-light/

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