FAYAS M-PORTFOLIO

AR C H ITEC TU R E PO R TFO LIO SELEC TED WO R KS 2 0 1 3-1 8

PUNARJANMA

The state of most of the citizens in india, who belong to the peaceful teritories of the country, be it the deccan or the coasts, be it the north or south of indIa, is that they have no idea about what actual war and warfront is. Adding to the fact that we have been free from such gerusome griefs for over half a century, the present generation has not faced any of such wrecks. The basic outline is to make the attendants of the space feel atleast some aspects of war, its ruggedness, its cruelty and regret being ignorant, inducing an idolisation and respect to the shoulders which home bring peace. Using certain specific emotions which account solely for specific wars the subjects are made to experience, aversion towards the event of war itself is brought. A series of spaces which aid to the human perception about the dark side of wars slowly converts the contempt to grief and then to homage.

The narrow unentertaining path ends in a wall which allows return though the path of the other, which eventually turns to be the same and hence realising the pointlessness of the war of 1947.

In the memory of indo china war of 1962, depicting the confusion brought up becore the war commenced, the chaos and confusion is brought by unorganized display and applying focus on one wall, The Wall of Deception, which masks the exit visually.

To portray the mode of military travel through trenches dug by themselves, this pathway leads to an underground gallery. the gloom and unfinished nature of the dangerous paths that the military travels is expected to attain. The trench is 3m eide and has a clear height of 2.8 m. this further leads to the outdoor gallery.

The War of Kargil was a victory we attained which people thought is impossible. the heights and cold this gallery is a play of various levels and at the end of the gallery is a narrow , landingless going of stairs, which reaches a level of admiration or attainment from where the memorial and the India Gate can be seen.

In the year 1971, when the threat from pakistan since 1965 had to be put to an end, the Naval Officials planned an attack over Karachi of Pakistan, ehich was a note of victory. This pool creates a sense of respect to those of the act.

The path of rememberance or ‘smaran ved’ is the main treadway from which the galleries evolve , lead to the underground gallery, the outdoor gallery and the memorial finally. This path is to be remembered hand hence it is called this.

The Outdoor gallery displays m a s s i v e battlements of the three forces. The central pool consists of a submarine and the path towards it is such that the water remains at the eye level, provoking fear and distress to induce the

The basic human nature to accept is denoted with a tilt since ancient times in the form of bowing or acknowledgement. The only way into the memorial demands the mind to accept the experiance further.

The next stage of the memorial is seen with tall, inhumanly proportionate cenotaphs with individual salutations inscribed on it. these are 5m tall walls through which people walk to the next stage

The final level is an earth niche, 4m deep, making it a huge pit of many crypts which denote dead and yet to die soldiers, however, this open space is devoit of any other emotion than dread.

T HAN K YO U

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