KEYSTONE 1718

keystone 1718 the students’ annual magazine

Vivekanand Institute of Technology’s

Padmabhushan Dr.Vasantdada Patil College of Architecture, Pune. we believe in creating sensitive and conscious architects who can contribute in shaping our built environment

MENTORS

EDITORS

Ritwik Butte III Yr. B.Arch

Tejal Shrotriya IV Yr. B.Arch

Isha Chaudhari III Yr. B.Arch

Abhinav Agarwal V Yr. B.Arch

Uchita Joshi IV Yr. B.Arch

Shreya Kembhavi V Yr. B.Arch

A 3 year long association with Keystone, has brought me to the editor’s chair today. The PVPCOA that I've understood through this process is vibrant and beautiful, and I hope that this magazine shows this to every reader. Keystone, will always have a special place for me, for it is the space where my words and ideas, have found a home.

Shubhankar Anwekar

Parag Kashyap

IV Yr. B.Arch

III Yr. B.Arch

V Yr. B.Arch

Vaidehi Savargaonkar IV Yr. B.Arch

Mugdha Karlekar V Yr. B.Arch Faculty Co-ordinator Ar. Aarthi Chandrashekhar Front Cover Credits Pranav Bobde V Yr. B.Arch Editorial Page Credits Ritwik Butte III Yr. B.Arch Back Cover Credits Adesh Bhawar II Yr. B.Arch

III Yr. B.Arch

Rashmi Banate

Harsh Pendharkar

ADVISORS

I've always believed in the written word much more than any other m e d i u m s o f communication; and keystone has given me a chance to put forward my ideas through it.

Keystone has definitely been a milestone in my journey of four years at the institute.

Working for keystone is a memory to be cherished all along, being one of the mediums to bring forth the talents and give them a platform as well as an identity. A lot to learn and carry forward, may this journey of creativity never end.

It's been 3 years since I’m a part of this and I got to say, it's been a hell of a ride. I've learnt that the journey is much more important than the destination, from the inception of an idea, through its development to let it grow into a fully mature concept that needs to get across to the masses. As a reader, you feel there's something new you learnt today, then our job here is done.

Adesh Bhawar II Yr. B.Arch

Mayuri Jadhav II Yr. B.Arch

Atharvi Netragaonkar II Yr. B.Arch

Aparna Kher II Yr. B.Arch

TEAM

In Memory Of...

“For me, Hasmukh Bhai was much more than merely a sensitive and creative architect. He was a guru, a mentor, a friend, and above all, a fine human being with whom, I’ve had the wonderful opportunity of spending many evenings along with my students, at Paritosh.

De sir was a beloved personality, more of a friend than a professor. He was a terrific mentor, ever inspiring and guiding his mentors.

His friendly candor and approachable demeanor made him one of the favourites of the students.

Whenever I met him at Paritosh, he would very warmly greet, ‘Kaise ho bhai?’ and then sit me down, and share with me, the wisdom and experiences of his years. That is something I will always cherish.

De sir was the quintessential teacher.

Architecture was his forte, but to most, he would end up teaching life instead.

His studios were always vibrant, a treatise of opinionated discourse and debates. He always inspired the students to think in a lateral fashion that helped open their minds to newer perspectives.

His works and deeds will always be a source of inspiration, for us and all future generations to come.

You will be missed, sir.

May his soul, rest in peace.

-Students of PVPCOA

-Ar. Prof. Prasanna Desai

Ar. Hema Sankalia Respected Professor, PVPCOA 24

1935- 2016

1

Zeitgeist

Key to the Magazine

Photography: *insert caption here* Yuvraj Shirke IV B.Arch yuvraj.shirke@gmail.com

The Blind, The Deaf, The Mute.

Zeitgeist is defined as the ‘spirit of the ages/times’. This year we tried to explore this phenomenon that defines a time period based on the way that people lived and tried to understand what the people of that time experienced. This is a dynamic and a complex aspect of our life that is more relevant now than ever as now we live in this world of exposure, where lie all our ancestors’ inheritance in terms of knowledge and ways of life. Meanwhile, we are the origin point that will lead us to the infinite possibilities our future can head towards.

Explorations in Zeitgeist also attempt to achieve a deeper understanding of oneself as everybody wishes to live in a time period that fits well with their school of thought and lifestyle.

Still, everybody learns to live in their time and still find the Zeitgeist they belong to.

Photography is the science, art, application and practice of creating Isha Chaudhari durable images by recording light or other III B.Arch electromagnetic radiation either ishachaudhari2997@gmail.com electronically by means of an image sensor, or chemically by means of a lightWhen I was a child,such as a photographic sensitive material, my mother used to scare me with stories ?lm.

That'sOf theethereal of?cial beings, de?nition of what of ghosts. less than ?esh and blood.

Andfor scared, I would photography is. But some of us, close my eyes and is sleep, lestclicking I wake to see one photography not just pictures of staring down at me. subjects; it is an extension of our eyes.

ISome became mayblind. say that our eyes are as good as a used camera lens since theystories capture She to scare me with of everythingunder and see monsters my everything. bed; and I, would cover my ears and sleep, lest I hear a guttural snarl from down under.

So I lost my voice.

Anyone can clickthey a good picture, but only As I grew older, became bolder.

The monsters crawled from to under bed, the one who knowsout where standmyand into my world. I would see their red eyes knows what to look can be gleaming in the eye for, sockets of aa good random man walking down theclicking street. any I would hear photographer.

Before picture, their feral growls disguised as catcalls and whistles. But I was blind; and deaf; and mute. The ghosts stopped by and watched and I think, I saw their ashen faces grow sad. The monsters became bolder, and with them, I felt my existence begin to fade. I became no more than a

I became deaf.

Aparna Kher B. Arch to call her at night. And she Petri?ed, I IIused kher.aparna98@gmail.com

Conversations are such a vital part of our lives. They become the very foundations of the bonds we form and nurture with people throughout our existence.

Conversations happen based on mutual give and take. And more often than not, we end up expecting to be 'taken' more than given. Consideration; actually being considered is a basic emotional requirement for us and the level to which it is ful?lled largely affects the orientation of our lives.

Being a good listener is far more important than being a good talker. And its not just the words, its the actions

When you really listen, your action is talking louder than any compassionate words you might have used that time to express your care.

Everyone on this planet is carrying their own baggage of thoughts, and intervals are necessary to continue carrying this baggage. Being listened to becomes this interval. And 'listening' to someone isn't just about being there for them to unload their burden or being there shoulder to cry on.

Its simply about being there, being the recipient. Even the most mediocre thoughts deserve to be acknowledged, that's what a good listener does.

Honestly, being a good listener is an important quality and has been undermined by most. People fail to realise the importance of listening but it needs to be established.

even the silence that needs to be 800 Sq. Ft. Lonelyand listened to.

The magazine cover displaying the human taking the keystone’s place with ease and power is reminiscent of the students of the college being the driving force behind the college culture, making the college as special as the arch that is getting us all together.

How good does it feel when the feelings that we try to communicate can Butte successfullyRitwik reach the other person!

Arch Most peopleIII B. would give the ability to ritwikkbutte@gmail.com communicate the credit here. But what's equally, or sometimes more important, is the ability to be communicated with.

This time when I stepped on the landing of my home ?oor, “We to hear not in order to listen but I didtend not ring the bell. in order to react.” This statement sadly stands to be true.

Hearing is one ofof our The thud of the latch and the click the ?ve basic senses lock, directed meso to we the never have to learn to hear.

But room. with that assumption I chimera of living

The diary of a Petrolhead

The thing about listening is that sometimes, The nausea a further when peopletook tell you stuff, return trip through the pit of myare stomach then its not because they seekingand your to my ears and whispered opinion, or asking for help. in an undertone, Its just because they need an outlet.

Their thoughts need to be voiced and “800 Sq.Ft. Lonely” received, not necessarily replied to.

It echoed.

For all it was neat and too perfect to bear. It smelled unsullied.

Threw my bag on the sofa like I used to, but

Karan Parab III B.Arch karanparab97@gmail.com

F

or most a car is just something that gets you from a to b , a tool perhaps nothing more.

I don't know when this love affair began; was it way back when, whilst as a child, I used to wait eagerly for my dad to come home, hiding a brand new hot wheels in his back pocket.

Or sitting in my mom's lap clutching the steering wheel as she drove me around the building. Or was it playing all those video games on the Playstation? I just can't say.

All I know is I felt something, something unfathomable when I turned the key in the ignition for the ?rst time and felt the

engine roar to life, hands trembling on the steering wheel, Where Science meets my heart pounding as my dad sat patiently by my side, Spirituality. his eyes telling me it's going to be okay. I shifted the car into gear, l et my foot off the clutch and felt the car move under me .

That's where it all started, that ?rst drive.

Ever since then I have always shared this They say that life nowadays is chaotic, it's intangible connection with the fast. Things change in a blink of an eye. automobile, this connection that no one

Parth Mathkari III B.Arch paaarth.vm@gmail.com

Before he passed away, someone asked the late Dr. Charles P. Stainmetz, the electrical wizard, in his opinion “What Branch of science would make the most progress in the next twenty-?ve years?” he thought for several minutes, then like a ?ash replied “Spiritual realization, when man to a conscious vital realization Howcomes Art Spiegelman of those great spiritual forces within himself

Designs a Comic Page

Art Spiegelman in his wonderfully crafted graphic novel ‘Maus’ wrote about his father’s experiences in the holocaust and his own efforts to come to terms with it and his relationship with his dad which is explored throughout.

This is a page from the ?rst chapter of the novel. Let us dissect this panel by panel.

‘Through the Lens’ and ‘Hands Running Free’ where we get a sneak peek of the world by students who challenge the world’s perspective to things with a different approach.

22

‘It’s all in your head, baccha!’ She would laugh her beautiful laugh and go about her work, humming a song.

Are you listening ?

Match the frequency of the reality you science is an offspring of consciousness. want and you cannot help but get that What we observe is not nature itself, but reality. There can be no other way. This is nature’s exposure to our method of not Philosophy, this is Physics.” questioning.

Also to quote Nikola Tesla “Throughout space there is energy. Is this energy Thus this differing of every bodies science static or kinetic?. If static, our hopes are to reach of connectivity is The subject ofthe thedestination novel in vain; if kinetic and this we know it is, what is Spirituality. is for addressed here and certain- then it is a mere question of time An encounter with ones own inner

more remnants of the past are shown in the college banner and the exercycle that the father uses to work out.

Reference made to the past with the ‘old room’ signifying the child who’s moved out.

The heads are now parallel and a picture is introduced which we won’t learn about until a few more panels.

Only the son’s head swivels towards the father making the request explicit.

The body angle of the father and son is shown to be parallel as the son is trying to get his father to open up.

The two men are also equated visually in this panel as the book will compare them and contrast them till the end.

Articles shared by our students about their experiences, exploration of different media such as art, photography, poems and architecture to expand our horizons on the extent of what we learn in architecture.

Also it is an attempt to widen our spectrum towards topics we previously knew little about.

01 05 06 07 08 09 10 11 12 13

HandsRunni ngFr ee Voy age Bey ondt heLens

HowAr tSpi egel manDes i gnsaComi c Page Mer ak i Pa v i l i on Ga ndhi ,Bak er ,Si ngh,a ndMe

Shear f or ce1718 Moment swi t hJ PSi r .

St or i esf r om t heDi r ect or ’ sDes k Ar chi T a l k

26 30 32

t 14 15 16 17 18 19 20 21 22 24

Phot ogr a phy :* i ns er tca pt i onher e* Thr ought heLens

33 34

38 39 40

Si mpl i ci t ya ti t ' sbes t–Ar .Ha s muk hPat el Les si sL es s Cel ebr a t i ngt heHuma ni z eds pa cei nour bui l tenv i r onment s

42 44

48 49 50 52

TRI VI ARCHAQROOKI ES Achi ev ement s Out doorCl a s s r oom As t i t v a

53 54 56 58

46

THE PHILOSOPHER’S TOUCHSTONE

Graphic Credits : Tanay Bothara, V Yr.

Seek, all ye who wander hither Stories, of the contemplative philosopher He who thinks Much in rhyme And of ideas that belong to no time.

And if you read, let me warn, Your thoughts will run amok to dawn.

From love to woe, curiosity to rage More you’ll find, when you turn the page.

Are you listening ?

Aparna Kher II B. Arch kher.aparna98@gmail.com

Conversations are such a vital part of our lives. They become the very foundations of the bonds we form and nurture with people throughout our existence.

Conversations happen based on mutual give and take. And more often than not, we end up expecting to be 'taken' more than given. Consideration; actually being considered is a basic emotional requirement for us and the level to which it is fulfilled largely affects the orientation of our lives.

How good does it feel when the feelings that we try to communicate can successfully reach the other person!

Most people would give the ability to communicate the credit here. But what's equally, or sometimes more important, is the ability to be communicated with.

“We tend to hear not in order to listen but in order to react.” This statement sadly stands to be true. Hearing is one of our five basic senses so we never have to learn to hear. But with that assumption I think we skip the lesson of listening as well. Most of the world is not a good listener because we haven't been taught how to listen.

The importance of listening is well understood when you have been listened to.

Being a good listener is far more important than being a good talker. And its not just the words, its the actions and even the silence that needs to be listened to.

Everyone on this planet is carrying their own baggage of thoughts, and intervals are necessary to continue carrying this baggage. Being listened to becomes this interval. And 'listening' to someone isn't just about being there for them to unload their burden or being there shoulder to cry on.

Its simply about being there, being the recipient. Even the most mediocre thoughts deserve to be acknowledged, that's what a good listener does.

When you really listen, your action is talking louder than any compassionate words you might have used that time to express your care.

Honestly, being a good listener is an important quality and has been undermined by most. People fail to realise the importance of listening but it needs to be established.

The thing about listening is that sometimes, when people tell you stuff, its not because they are seeking your opinion, or asking for help.

Its just because they need an outlet.

Their thoughts need to be voiced and received, not necessarily replied to.

Frankly, its not even that difficult a task.

Being a good listener is about being able to keep our opinions and reactions aside and giving the talker the deserved importance. Its about being able to encourage the person in front to talk freely about the thoughts they have.

5

Local Diary - # 1947

Advait Deshmukh Faculty, PVPCOA | Alumni Batch ‘16 advait.deshmukh@gmail.com

लोकल मध या गचाळ handles पासून वाचत मी हल े कावे खात उभा होतो

पण गो यानी अगदीच दल ु के लं अ सल मुंबईकरासारखं

एक foreigner , हावभावांव न अमे रकन वाटला. मुंबई या गद त एक हाईट पु ष असणं हे कती दव ै ी सुख असू शकतो असं वाटू न गेल.ं

मी िवचार क

बां ाला एक िहजडा बोगीम ये चढला मी नेहमी माणे पाच पये काढू न हातात खेळवत बसलो.

लागणार

ितत यात िहज ानी मा यासमोर हात ठे वला मी बावचळलो. पटकन पैसे दले

मला वाटलं, आप याला आज clash of civilizations बघायला िमळणार अगदी लाई ह आिण अगदी फु कट

आिण वतः या दलदारी वर मूठ मा लागलो

िहजडा असेल कु ठ यातरी गावाचा कं वा मुंबईचाच िझजलेलं शरीर आिण तापलेलं डोकं घेऊन मागेल पैसे या गो याला

गोरा clash of civilisations बघत बघत अंधेरीला उतरला सु ा

आिण तो गोरा, आला असेल इथे spiritually enlighten हायला मजाच!

6

आिण

अगदी लाई ह आिण अगदी फु कट

Going with the flow?!

Pursuit of happiness.

Ketaki Ghodke

What’s in a name?

III B. Arch

PVPCOA

ketaki1037@gmail.com

Human relations are like a river.

From a distance they seem one and sync with the flow, but that’s not the truth.

Throughout the life people are into relationships, marriage and all other kind of ‘associations’. All this is just an effort; an effort to remain happy.

The one who has dived into it can experience the constant pull and push of the currents beneath.

One must not forget that all this is for a distinct period; temporary. And with time everyone is to wind up from all this.

You either wind up fo the relation, or happiness. CHOICE.

Currents flow in different directions but they never lose individualities. Currents never merge into each other, they have their own flow, their own story, they don’t care if you are sucked in or thrown.

They are coming out of nowhere and headed nowhere but pretend to come from somewhere and rush somewhere.

Such are currents, such are these self created stories, such is illusion, such is race, and such is time.

All that you realise afterward is that you just have yourself, and that pursuit of happiness is to be from within. How shall a person remain happy?

Only and only by investing in others happiness without expecting a return of any terms. ोकांचं आयु सुंदर बनवाय ा मागे ागा, तः ा आनंदाचा दजा आपोआप वाढे .

My grandmother; grandfather has left, her parents left a long way back, and even her kids now; all she is left with is herself and cares for her own happiness.

She cares for the happiness of all those around her, but doesn’t expect anything.

7

Elegance

#bookreview

Norwegian Wood Haruki Murakami

Adesh Bhawar II B.Arch adeshbhawar@gmail.com

It was dark, I had been working for hours now As I noticed, someone was watching, peeping through my door, I could see her!

Not clearly though, but yes, looking at me. I was curious, I opened my door.

Subtly entering inside brushed her hand with my eyes, she was amazing.

I keep everything aside, walking towards her, I was hypnotised by her charm.

Baffled, I ask her to show herself, she was a bit shy, she asked me to wait, I was eager! I wanted to see her! As I was eagerly waiting for the moment for her to show up.

It came! The moment I longed for.

Little did I know, As she was about to show herself, certain someone came, standing and before her it was mighty.

Ritwik Butte III B. Arch ritwikkbutte@gmail.com

Imagine a really long, dark, silent and a melancholic night. Your’re sitting alone in this steup and eveything else is crowded to the brim of everything.

One by one all the events unfold before you and they take their own sweet time to do so.

This is what reading Murakmi’s Norwegian Wood feels like.

The story plays around three characters, one of whom narrates it in flashback on the themes of self exploration, findings, learnings and experiences of them all.

The vocabulary being top notch enough to keep you engaged with every single page. So engaging that you may get it through in a single read.

A must read for a brief introduction to the post modernist culture of Japan.

For a moment, I thought she would flinch.

But, she dragged him behind and came ahead.

The sunrise was never this beautiful.

8

10

The Blind, The Deaf, The Mute Isha Chaudhari III B.Arch ishachaudhari2997@gmail.com

When I was a child, my mother used to scare me with stories of ghosts. Of ethereal beings, less than flesh and blood. And scared, I would close my eyes and sleep, lest I wake to see one staring down at me.

I became blind.

She used to scare me with stories of monsters under my bed; and I, would cover my ears and sleep, lest I hear a guttural snarl from down under.

I became deaf.

Petrified, I used to call her at night. And she would laugh at my fears, a sound that would cheerfully echo off the walls that would otherwise close in. She would wave her hands about and mutter a few words, and like magic, the ghosts would seem to disappear. She would kiss me on the forehead and leave, triumphant. But they never really left, they would only hide. And when I was alone, they would come out of the darkness they had slithered into and stare at me with bloodshot eyes. When I told her, she never believed.

24

‘It’s all in your head, baccha!’ She would laugh her beautiful laugh and go about her work, humming a song.

So I lost my voice.

As I grew older, they became bolder. The monsters crawled out from under my bed, into my world. I would see their red eyes gleaming in the eye sockets of a random man walking down the street. I would hear their feral growls disguised as catcalls and whistles. But I was blind; and deaf; and mute. The ghosts stopped by and watched and I think, I saw their ashen faces grow sad. The monsters became bolder, and with them, I felt my existence begin to fade. I became no more than a ghost, albeit with blood running through my veins. Ashen. I wasn’t afraid of the spirits anymore, for are you ever truly afraid of your brothers?

The ghosts never saw. The ghosts never listened. The ghosts never talked.

And now, I know why.

9

The diary of a Petrolhead

Karan Parab III B.Arch karanparab97@gmail.com

F

or most a car is just something that gets you from a to b , a tool perhaps nothing more.

I don't know when this love affair began; was it way back when, whilst as a child, I used to wait eagerly for my dad to come home, hiding a brand new hot wheels in his back pocket?

Or sitting in my mom's lap clutching the steering wheel as she drove me around the building? Or was it playing all those video games on the Playstation? I just can't say.

All I know is I felt something, something unfathomable when I turned the key in the ignition for the ďŹ rst time and felt the engine roar to life, hands trembling on the steering wheel, my heart pounding as my dad sat patiently by my side, his eyes telling me it's going to be okay.

I shifted the car into gear, l let my foot off the clutch and felt the car move under me .

That's where it all started, that ďŹ rst drive.

Ever since then I have always shared this intangible connection with the automobile, this connection that no one understands. But I've always been sure of it. With each gear change, with each crackle and pop of the exhaust , I can feel the car talk to me.

And in all that noise, I felt relaxed, and at peace with my demons.

Whenever life didn't make any sense, the one thing that did was the road's beckoning call and the longing for a drive. .

10

They say that life nowadays is chaotic, it's fast. Things change in a blink of an eye.

We're living in the dawn of the electric automobile where cars are sure to drive us in complete autonomy and in eerie silence.

But I'll be taking solace in the fact that I can get in my 10 year old Honda and heal and toe into the sunset.

Every car has a soul. It's alive and it talks to you.

All you have to do is listen.

Graphics by : Karan Parab III Yr. B.Arch

#bookreview

The Kite Runner Author: Khaled Hosseini

Mayur Pacharne II B.Arch mayurpac222@gmail.com

Rashmi Banate III B.Arch rashmi.banate@gmail.com

A story of friendship, hatred, guilt, fear going a long way, cherished and overcomed by a strong will and nothing else.

Set against the backdrop of Afghanistan, drastically changing from a beautiful land to the land of wars, this is the story of two friends Amir and Hassan, from varying backgrounds.

The story starts from their friendship and slowly culminates into differences which go a long way ahead in life in the form of guilt and end in redemption. The lost childhood of Hassan for which Amir held himself responsible and becomes the reason of both parting ways.

Years later finds himself again in the same lanes of Afghanistan with the vanishing images of he and Hassan running after kites but with some astonishing truths shaking his whole world upside down.

A lot to teach about life and live for someone saying “For you a thousand times over.�

11

#DIY

Kill the Pretense.

Mayuri Jadhav

Yash Kinvasara

ll B. Arch

III B. Arch

jadhavmayuri461@gmail.com

yash2497@gmail.com

I sit on my couch, besides the window, rain dripping in through the vent, book on my lap, ‘Green Day’ playing on my phone, cup of coffee in my hand, my favorite situation to be in. But this time I don't either want to read or drink coffee or want to listen to green day. I'm lost, I feel.

I look blindly outside; the cars pass by slowly, as usual. I wonder, the driver must be a happy person going back from a successful day at office. Or sad, just got his heart broken, who knows?

So many stories passing by, not knowing the depth of emotions involved, for emotions are what make us feel alive, and here I sit numb, is numb a emotion ? I wonder. And the joyful voices of kids playing below disturb my thoughts. I listen to the voices carefully this time, how happy they sound? With no pretense and such pure emotions.

And by this I'm again drawn to a loop of thoughts; where are we going? What are we leading to? Tough we might be able to get through this daily lifestyle we have created for ourselves (or maybe not). We are able to survive; everyone looks happy, partying, buying their

12

Stop Motion

favorite gadgets, going to their favorite hangout places, but is happiness so materialistic? When will the day come when a person's emotions are kept above all materialistic things? When reaching to the top won't be the ultimate aim of life. Are we really developing? Trying to fake happiness, Is this where we are leading to? Should we reach to the top of pretense, or to the epitome of humanity, which is the foremost reason of human existence; to be kind to others, a little more loving and living for everyone else as much as we live for ourselves? The pride in living for others is more than living for us.

Stop-motion is basically a filming technique used to make an inanimate object appear to be in motion.

Here are a few simple steps to get you started : • Set up a camera (phone camera will also do) on a tripod or stable surface.

• Select a clean backdrop for the set (To maintain constant light quality) • Place an object in the desired position. Click the first picture and move the object slightly (as shown to the left) and keep on capturing the frame until the object has moved a considerable distance.

• Tr y v a r i a t i o n s i n movements like rolling, falling, twisting, etc.

10

Where science meets spirituality

Parth Mathkari III B.Arch paaarth.vm@gmail.com

Before he passed away, someone asked the late Dr. Charles P. Stainmetz, the electrical wizard, in his opinion “What branch of science would make the most progress in the next twenty-five years?” he thought for several minutes, then like a flash replied “Spiritual realization, when man comes to a conscious vital realization of those great spiritual forces within himself and begins to use these forces in science, in business and in life, his progress in the future will be unparalleled”.

Non material science began to emerge at the turn of the 19th century when physicists started to explore the relationship between energy and structure, when they did this: the realization that matter is nothing but an illusion took form. the very make up of an atom is comprised of what we believe to be empty space.

At this point, scientists began to recognize that everything in the universe is made of energy.

When we discovered a phenomena that could not be explained by classical physicist led to the development of Quantum mechanics. This introduced the concepts of energy, frequency, emotions, feelings, thoughts, beliefs and consciousness.

Albert Einstein once said “Everything is energy, and that’s all there is to it.

10

Match the frequency of the reality you want and you cannot help but get that reality. There can be no other way. This is not Philosophy, this is Physics.”

Also to quote Nikola Tesla “Throughout space there is energy. Is this energy static or kinetic?. If static, our hopes are in vain; if kinetic and this we know it is, for certain- then it is a mere question of time when men will succeed in attaching their machinery to the very wheel work of nature.”

The question remains, how do we connect? does science have an answer to this? or is it that every bodies science differs, to reach this destination of connectivity.

Speaking of science, as Deepak Chopra says, its just an experience of a perceptual reality, which is not real fundamental reality. Specie specific description of a mode of observation, just like an insect with 100 eyes looking at me, won’t see me as you and me see each others, reality changes for both.

A honeybee navigates through ultraviolet, a snake through infrared, a bat sees through echo of ultrasound, a chameleon’s eye balls role on two different axis, imagine the vision screen of this organism. Thus science models reality. In better words, one may say

science is an offspring of consciousness.

What we observe is not nature itself, but nature’s exposure to our method of questioning.

Thus this differing of every bodies science to reach the destination of connectivity is what is Spirituality.

An encounter with ones own inner dimension. A tool, manually mechanized, to connect the outer energy into ones own structure.

If the body, mind and soul are to be considered the three embodiments of a human structure, the soul is the one which soaks the energy, it’s as far as spirituality is concerned; the idea that you can control your thoughts, feelings and emotions and use them to manifest your reality is common place. Even this is a form of vital energy.

A spiritual speaker is neither a theist nor an atheist, he has realized that he can’t reason out the existence of God or non existence, so he is seeking himself, believing in himself. As J. Krishnamurthi famously said “I used to be an atheist till I realized I was God.” Nobody needs to teach you what is spirituality, even Sadhguru reaffirms “If you are equally involved with every aspect in your life; your body and the breath; then you will be constantly spiritual.”

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The Useless Column

Piyusha Patwardhan V B.Arch piyushapatwardhan@gmail.com

I was driving down the winding road of an old age home called 'Suvidha', on the outskirts of Bangalore with three of my friends, searching for a certain house no. 126. As we passed house no. 125, we saw a humble old guy waiting for us at his doorstep. His eyes lit up with a crinkled smile as he saw us, and he invited us in. We sat in the living room, partaking of his wisdom and hospitality. Being architects, our eyes couldn't help but wander and take in the space and all its elements. Channels of water bodies running along the of the room cooled the space. Tilted walls reminiscent of kerala windows were used in place of conventional windows. The floor was terracotta and the roof, hipped sloping. Our minds tried to make sense of all the elemets, and relate them to whatever we'd learnt till then. But a certain element in that room, baffled our minds. Right in the centre of that square room was a column,free of any top load, not connected to the roof! I asked the old man "Say, what is the story of this column? Why is the centre most column, not connected to the hipped sloping roof? A smile started playing on his lips and his eyes sparkled with a mischievious glint.

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"The story dates back to when I designed this retirement village. When I was designing this, I had a minor skirmish with the structural engineer. The Engineer was of the opinion that for a room of span 15M x 15M with a hipped sloping roof on top, a column was needed at its exact center to support the roof ridges. I disagreed, saying that the ridged roof will act as an arch and will hold up the roof. So we decided to experiment with one house, without the central column. But no! Mr. Civil Engineer was just as stubborn. He passed all the building drawings with the centre column and instructed the site masons to start constructing. When I went for a site visit, I noticed that all the columns were already constructed as high as the height of the room. I was infuriated. The audacity of the engineer! I instructed the masons to start putting up the formwork for the roof and told them that within a week I will revisit. I will personally supervise the removal of the formwork of the roof whence the central column should be detached. The seventh day arrived and all the construction and design crew arrived onsite to see the fate of that building.

The formwork was removed and the supports were dislodged and nothing collapsed. The roof was stable, the columns were stable, and the central column was detached from the roof. The only unstable thing there was Mr. Civil Engineers Job!" He ended with a chuckle.

We left, in awe of the humble old man and his not so humble stories. You might be wondering who this rebellious old man was.

He was no, other than Prof. Krishna Rao Jaisim.

I am in love with “the shape of you”

#travelogue

Every mile a memory; Bali

Prerana Godambe

Yash Jain

II B. Arch

III B. Arch

preranagodambe12@gmail.com

yashjainpvpcoa@gmail.com

Often we forget to appreciate what truly needs to be appreciated. We need to start accepting ourselves, loving ourselves and most importantly celebrating ourselves.

In this life if you don't celebrate yourself , nobody will.

Mirrors, reflect to show you yourself; showing your beauty to be seen amidst the few flaws.

Focusing on the flaws one gets stuck in reflections and in turn mirrors turn into mirages.

Appearances has now become the purpose of existence, but the fact of being goes beyond just the idea of existence and being.

What is real and what is not, no one knows for sure, however everyone fears the unknown; scared to explore within to be able to explore others and vice-a-versa.

One has rightly said “Originality is the key to being memorable.”

Originality is not doing something no one else has ever done .

But doing what has been done countless times with new life , new breath.

Being naked from the soul to see the other person as the soul, behind the masks, deeper than the skin and bones to really see one as they are to exist and now one leaves behind the mirages or mirrors to see one another and not hide behind just the SHAPE of your being.

Bali - A combination of bothbreathtaking beaches and beautiful temples.

It bestows the realization of both relaxation and culture.

Immerse yourself in the colour and sound of a traditional festival, dine on local specialities, snorkel beautiful reefs, watch craftspeople at work, wander through lush rice fields, or just relax and be pampered at a Balinese spa.

There's a awful lot to do in paradise and it's not all about the beaches.

Temples occupy nearly every block, and you can't walk far without almost stepping on offerings of incense and flowers laid on the ground for the spirits.

The landscape shifts flawlessly from tropical beacehs to lush green jungles.

I've never experienced a place quite like Bali.

Compiled by: Atharvi Netragaonkar:

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बालपण Rajsheel Bhutkar I Yr. B.Arch rajsheel.butkar@gmail.com

Rashmi Banate III B.Arch rashmi.banate@gmail.com

एक अशी चौकट जी कधीच ओलाडावीशी वाटत नाही. ं एक आभाळ याला सीमा नसनही ू सारं अपरु ं पडत.ं एक असं नाणं जे कसही ं पडलं तरी आयु यभर परत. ु ं एक असं नाटक जे सपं यावरही मना या एक कोप यात िपगा ं घालत रहात.ं याला अ लडपणाची साथ असते पण स याची धार असते. धडपडत चाल याची सवय असते पण पु हा उठ याची िह मत असते. मन मोकळं क न अ ू ढाळ याची ताकद असते, पण खळखळनू हसनू दःख ु िवसर याची सवयही असते. इव या या मठीत ु जग सामावनू घतें पण ती मठू मोठी होताच हळच ू िनसटनू जात.परत कधीच न ये यासाठीपण ं आयु यभर परत. ु ं 16

Wishing

Rashmi Banate III B.Arch rashmi.banate@gmail.com

Leaving a trail behind on the soft sand beneath the feet, wishing all our past mistakes and regrets be erased, like the waves of the ocean sweeping off the marks with them, making a way for new. wishing the waves would never return back to the ocean, breaking the silent symphony, like the memories remaining true to their meaning, never letting us stay in the past nor live in the present. wishing the ocean never travelled beyond, imposing the illusion of two ends meeting, like the hearts jumping to conclusions racing ahead, with our minds slicing our souls in better halves.

Is life such complicated and chaotic?

Wishing it was either empty or filled with a chaos much beautiful!

#travelogue

Sri Lanka

Rutvik Paranjape III B. Arch rutvikparanjape@gmail.com

Where, How, When : Sri Lanka, Flight, 22 October 2017.

Best time to visit : September to November.

Heavy rainfall during other seasons.

Food : Fish is a delicacy along with other non-vegetarian cuisine. Coconut curry, kottu, iddiappam are some vegetarian delicacies.

Transport : Bus, taxis are efďŹ cient. Poor train routes.

Places of interest : Botanical garden (Kandy), tooth relic temple (Kandy) is famous for gems, Dambulla cave temple, Sigriya rock fortress, Bentotta beach city, structures of Geoffrey Bawa.

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800 Sq. Ft. Lonely

Ritwik Butte III B. Arch ritwikkbutte@gmail.com

This time when I stepped on the landing of my home floor, I did not ring the bell.

The thud of the latch and the click of the lock, directed me to the chimera of living room.

The nausea took a further return trip through the pit of my stomach and then to my ears and whispered in an undertone, “800 Sq.Ft. Lonely” It echoed.

For all it was neat and too perfect to bear. It smelled unsullied.

Threw my bag on the sofa like I used to, but this time there were no protests from the kitchen.

Turned on the TV. No fights over remote nor the volume being an odd number.

The cable had lost it’s signal.

Thought of going to sleep and searched for my second favourite rug.

It was all there down somewhere dusty.

It smelled nausea-tic after three breaths of mine.

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Graphics by : Ritwik Butte III B.Arch

The Sandman

Shubhankar Anwekar IV B.Arch shubhankaranwekar21101996@gmail.com

Once there was a boy who loved to dream.

In his dreams he could create worlds. He loved to give shape to reality. His dreams were often more real to him than life. With a twirl of his ďŹ ngers and a blink of his eyes, he created masterpieces. His dreams were extensions of himself. Every little aspect of his Dreaming was precious.

One day he found himself unable to dream. He spent all of his waking hours daydreaming. However, it was not as beautiful as the real thing. He looked for solutions all over the world. But his problem was unique. He wanted his Dreaming to become his Reality. He sought to bring the colour and vibrance of his dreams to the order and boredom of reality.

He became helpless and dispassionate.

In his travels around the world, he met a man. He was tall, thin and had stars instead of eyes. He was the Lord of the Dreams. He sprinkled a little of his Dream Sand over the boy. The boy was blinded by the sand and when he opened his eyes, he found that e was lying down in the bed of an inn. His encounter with The Sandman had been in his Dreaming.

He woke up, fuelled with a ďŹ re burning deep inside of him. He started creating all that he dreamt into real life. All the marvels and monuments that he dreamt came to being in front of his eyes.

He realised he didn't need to dream. All his dreams were coming to life. He was a creator of beauty, a creator of function, a creator of dreams.

Graphic Credits : Author

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Mountains

Uchchita Joshi IV B.Arch uchchita@gmail.com

Humans are and have always been weird beings. Being the one with the largest curious brains and an enormous capacity to think, they have created a complicated labyrinth of things that neither they can decipher nor anybody else. They have a peculiar way of showing emotions.They have crazy reasons to believe in something and they are absolutely confused when it comes to love. But they opt for the most easiest and predictable way when it comes to being on top.

MOUNTAINS. Mountains have always fascinated humans. Since the early times man has liked to scale the height of any hillock or cliff just to get a wider perspective of everything around. Just to feel on top of the world. Just to see how everything looks from atop. They say life is a climb Because in the end, the view from the top will be amazing. The top is always subconsciously considered better. Top, up etc. are words that indicate something being above something. But being at the top isn't always good.

People have always had a strange

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attraction towards mountains. Hence they constructed roads along the mountain, Designed viewpoints, built resorts having a view and most importantly designed a camera so that the person won't forget the moment he was at the top.

The road is tricky, the climb is hard but all is worth at the end because the top is amazing. The view is magniďŹ cent, there is soft breeze carrying the smell of pine and other trees, the wind blows through your hair, the air is fresh and the feeling is good. Everything looks so tiny - The houses, the people, the cars etc. And you feel on top of the world. But when you get to top that's exactly when you realize how truly insigniďŹ cant you are. You are nothing but a speck of dust on the time frame of the mountains standing there since centuries and you are nothing but a dot compared to their enormity. You are nothing but a mere tiny grain in this vast expanse of land.

Mountains make you feel huge and small at the same time. People undertake expeditions, they go through the climb, they face the adversities and they get to the top. And the feeling is absolutely relative.

Life is a climb and the view is splendid.

But then the question remains: Why do you yearn for the top?

To curtail the demon inside you that says you are everything, or To curtail the angel within, that says you are nothing?

The Art Of Seeing

Vaidehi Savargaonkar IV B.Arch vaidehias1996@gmail.com

The beauty of a structure lies in the play of light and shadow patterns on its exposed brick structure. It is the angles, the flow, the static and the dynamic of an architectural form and the refracted light off the glass facade.

Architecture lies in the patterns of the Mughal jalis, the ornate carving on the temple, the outstanding cantilever on the high rise and the height that seems to kiss the sky.

Architecture is a visual art. Or... Is it?

On a stormy night, close your eyes, feel the trees outside bending and swaying at the will of the almighty wind, feel the pressure of the wind on the shuddering window panes and feel the shiver going down your spine.

See the structure through its strength against the pelting rain and through the eternally tense steel and unrelenting concrete.

See the structure through the smell of the soil on the veranda, and through the patter of rain drops on the tin roofing.

Architecture is a multi- dimensional art.

Architecture is the science of quality. And architecture is the director of experience.

So, in the afternoon one day, of a sunny, windy day, stand still for a while, and close your eyes. And see the structure through your touch, through the warm, rough brick that lines the walls, uniform in composition and yet each a unique texture. See it through your ears, through the tinkling of the wind chime at the terrace entrance, and through your hair fluttering in the wind at intervals as you walk down an Arcade.

Next time you enter a temple, feel the architecture through the sudden coolness in its interior, the cold stone against the scorching sun.

Next time you enter a chawl, fell the space through the echoing play of children, the loud conversation of neighbours, and the many smells of delicacies throughout the hallways.

Next time try to see the structure for all it is. And for all it makes you feel.

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ZONE START

CAN YOU IDENTIFY THESE FAMOUS STRUCTURES BY THEIR INTERIORS ?

1

2

3

4 CAN YOU IDENTIFY THESE STRUCTURES

BY THEIR ELEMENTS MASHED TOGETHER ?

-Parag Kashyap paragkashyap2212@gmail.com

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TV show spaces Answers: F.R.I.E.N.D.S. , The Big Bang Theory, Gilmore Girls, The Office, Seinfeld, How I met Your Mother

Insight 17-18 Embracing the outdoors

The Insight week is an annual ritual of PVPCOA that is looked forward to by every student in anticipation. The Insight week of the academic year 17-18 commenced on 10th February 2018.

Along with the usual do-overs of the Aluminium Panel, the Atrium , the Section wall, the Tribute wall, seatings and the Canteen Cut-out, the college could reach beyond its physical boundaries to embrace its outdoors.

Colonnade seating

Two overlooked spaces were transformed into usable ones and were given a completely new identity. The canteen extension was proposed in order to cater to the space crunch in the existing canteen and to explore bamboo as a material.

The grey. lifeless colonnade space was converted into a lawn with various seatings to promote interaction and give the users a space for relaxation.

These two spaces along with the other do-overs have helped maintain and evolve the true spirit of PVPCOA.

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Canteen Extension

Page Credits : Aparna Kher II Yr.

Graphic Credits : Tanay Bothara, V Yr.

HANDS RUNNING FREE

Hands running free a series of master strokes

Heed Atharva Ghogale, II B.Arch Pen and ink on paper.

Sage Pushkaraj Bhamre III B.Arch Pen and ink on paper.

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Shreya Kothadia, II B.Arch Oil on canvas.

Untitled Shreya Kothadia, II B.Arch Oil on canvas.

The eyes have it.

Apurva Patil, III B.Arch Wax on textured paper.

Harmandir Sahib Nikita Dhavale, I B.Arch Oil on canvas

Forest Fires Vaibhavi Pujari, II B.Arch Water color on textured paper

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One Abhishek Ajgaonkar, III B.Arch Knife and acrylic on paper.

Hampi

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Atharva Ghogale, II B,Arch Acrylic on canvas.

Pushkaraj Bhamre, III B.Arch Oil on Canvas.

Viraj Gapchoop, III B.Arch Water colors on textured paper.

Atharva Ghogale II B.Arch Water color on paper.

Apurva Patil, III B.Arch Pencil colors on paper.

Viraj Gapchoop, III B.Arch Water color on textured paper.

Purshottam Deth, II B.Arch Pencil colors on paper.

Pallavi Laddha III B.Arch Madhubani Painting.

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A journey of 5 years, through stormy seas, and calm waters, all to reach a destination as beautiful as a mermaid’s song. The ďŹ nal stepping stones to the real world, a few slippery, a few strong, all to create a wiser and more sensitive human, going out into the world.

Credits : Harsh Pendharkar

Beyond the Lens Photographs and illustrations that do something more with photographs, which tell a story beyond the frame. Or maybe, just the frame.

Frames Purnima Chitale, PGLA

LIGHT PAINTING Light Painting Photography is the Art Form of using handheld lights to paint and/or draw in a scene while the shutter of a camera is left open during a long exposure photograph. By shooting in a dark location and using photographic technique of LONG exposure photography (lets say a 30 second exposure) the ashes, streaks, colors, textures, and trails of light created by our light painting tools and modiďŹ ers can be captured in your photograph without the use of any post production.

Exposure times for light paintings can range from just a few seconds up to an hour or more.

Petals Dhawal Singh Diwanay, PGLA

ILLUSTRATIONS Which way up?

Abhishek Ajgaonkar, III

Painting the town, red.

Mihir Ghotankar, III

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The art of Photo illustrations is a digitized medium, wherein, a photo is edited in softwares combined with other photos or hand drawn art, to produce one, comprehensive artwork that tells a different story. Blurring the line between realistic photographs and the beauty of hand sketches, they have a place of their own in the world of art. This medium is currently at large, as it allows for greater creative freedom and versatility. These illustrations do not need mad sketching skills, hence are getting even more popular.

Static. Or Fluid?

Viraj Gapchoop, III

Photography: *insert caption here* Yuvraj Shirke IV B.Arch yuvraj.shirke@gmail.com

Photography is the science, art, application and practice of creating durable images by recording light or other electromagnetic radiation either electronically by means of an image sensor, or chemically by means of a lightsensitive material, such as a photographic film. That's the official definition of what photography is. But for some of us, photography is not just clicking pictures of subjects; it is an extension of our eyes.

Some may say that our eyes are as good as a camera lens since they capture everything and see everything.

Photography is a religion in one way or the other; one that is not preached but practiced. But the skill is only as good as the imagination of the user.

Anyone can click a good picture, but only the one who knows where to stand and knows what to look for, can be a good photographer. Before clicking any picture, the photographer must have the picture in his mind and visualize what the frame is going to look like. He/she knows exactly what is needed in the frame and how to maintain the balance in the picture.

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Through the Lens A series of photographs that capture life, and few of the innumerable other things, that make it beautiful.

Protection, or captivity.

Meera Ganjave, III

Running on manpower.

Mihir Ghotankar, III

The blue of Majuli.

Nikhil Wagh, II

Bird in light Atharva Ghogale, II

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Shades of serenity.

Aakash Karnaavat, II

Forest, to the city.

Mayur Pacharne, II

Through the Lens Spaces, places, and all things architectural.

Streets above streets.

Protection, or captivity.

Kaushal Tatiya, III

Meera Ganjave, III

Kasauli.

Kaushal Tatiya, III

Pastels.

Dhawal Singh Diwanay

Viraasat- E - Khalsa.

Mihir Ghotankar, III

Perspective.

Mihir Ghotankar, III

Reection in the Amrit Sarovar Mihir Ghotankar, III

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Through the Lens Unravelling the unfathomable; Of nature and its unparalleled grandeur.

Protection, or captivity.

The Indian Chameleon

Dhawal Singh Diwanay, PGLA

Abhishek Patil, III

Once upon the Super Blue, Blood Moon.

Protection, or captivity.

Atharva Ghogale, III

The Super Blue Blood Moon was a phenomenon that occurred after a lapse of 37 years, on the night on 31st January, 2018.

Why is it so special?

In such an event, three special events lined up- the eclipse, the blue moon, and the blood moon, to produce a spectacular view of the night sky, illuminated by the signiďŹ cantly larger, and more illuminous white lady.

Protection, or captivity.

Dhawal Singh Diwanay, III

Phases of the Blue Blood Moon.

Virendra Behl III

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Graphic Credits : Tanay Bothara, V Yr.

The hand they say, Has a mind of its own Time and again The truth has been shown What the pages talk of, You must have connected the dots Of matters of touch and tangible thoughts.

The Tangible Layer

The subject of the novel is addressed here and more remnants of the past are shown in the college banner and the exercycle that the father uses to work out.

How Art Spiegelman Designs a Comic Page Art Spiegelman in his wonderfully crafted graphic novel ‘Maus’ wrote about his father’s experiences in the holocaust and his own efforts to come to terms with it and his relationship with his dad which is explored throughout.

This is a page from the first chapter of the novel. Let us dissect this panel by panel.

In this panel, it is revealed that the photograph is of the mother and hence we understand the relevance of panels that came before.

Reference made to the past with the ‘old room’ signifying the child who’s moved out.

Only the son’s head swivels The heads are now parallel and a towards the father making picture is introduced which we the request explicit. won’t learn about until a few more panels.

This panel covers the entire length of the page and has 3 remnants of the past: the picture, the identification tattoo the father received at Auschwitz, and the speech bubble where the father says nobody would want to listen to his stories. The father is enclosing his son in the frame in this panel.

In this panel, we see the father’s shoe struggling to move the pedaling with effort but the cycle is still stationary.

The body angle of the father and son is shown to be parallel as the son is trying to get his father to open up.

The two men are also equated visually in this panel as the book will compare them and contrast them till the end.

We get our first window to the past in this panel into the story within the story that would consume the book. The different shape signals a new narrative thread.

The father is a towering figure in the son’s life and hence his experience through “In a comic page, you the holocaust shows how the world was affected generations after it. Every such have various panels, page designed by Spiegelman crafts a story extracting the truth, unique to those panels are a comics.

Analysis and graphics by: The Nerdwriter1 unit of time. You see A Custom Page by Parag Kashyap them simultaneously, IV Yr. so you have various moments in time simultaneously made present.”

In a comic, the panels are spatially arranged to see how the past affects the future and vice versa.

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11

Meraki Pavilion The spirit of 30 souls

Atharvi Netragaonkar II B. Arch atharvi.netragaonkar1@gmail.com

We, a group of enthusiastic souls of PVPCOA came together on 30th December 2017 for a cause, to quench the thirst we had of exploring the strengths and weaknesses of plastic as a building material. The pavilion is thus a presentation which is made up of 3000 used plastic bottles comprising of all the curiosity that we tried to satisfy these 2 days.

We are like individual bottles, together we can make people wonder! It’s not built with plastic, but with desire, passion, trust and urge to explore the material” Shubham Kotawadekar

The journey from collection of these until shaping it into the desired form as per the design tested our mettle as a team. The hands on experience not only provided us an exposure of how and when to use this material but also how “sustainably” we can deal with plastic.

IV B.Arch

“Everybody celebrates new year’s eve with bottles. This is our way of doing it.”

Somesh Kachawar II B.Arch

Our way to celebrate this new year’s eve was a bit different than the rest but when this pavilion stood straight up, there were no regrets seen with any of the explorers on site. “Meraki” is a Greek word which means doing something with soul, creativity and love, when you put an essence of yourself in whatever task you are doing.

We could all see the presence of 30 different souls in this pavilion and hence we would like to call it as “Meraki”.

“It was worth the night. All our hardwork and passion paid off. And above all, it was working with the family once again” Chandrashekhar Kondabattini IV B.Arch

“Meraki pavilion was a twisted experiece extracted from waste” Shubham Kapre IV B.Arch

Photos by : Atharva Ghogale II B.Arch

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Gandhi, Baker, Singh, and Me. Abhinav Agarwal V B.Arch abhinavagarwal335@gmail.com

People, affect people.

This is a simple statement, made in a not so simple sense. Often, people make such a huge impact on the lives of other people, that the entire course of their life changes.

One moment, one meet, one choice; has the power to divert the track of a life, in entirity. Such is the power of words and actions, and the most influential voices make the most of this power. And, later, the instances that brought about the change are remembered, but this different track that their life runs on, goes on unnoticed into the horizon.

Gandhi is not just a name in this nation.

Gandhi is a reformation; a movement and Gandhi, is a perspective. This one "peaceful" human has transformed the nation in all forms possible. Along with the nation, he has transformed lives at an individual level. I'm talking about two such lives in a beautiful way and another in a notso-aesthetic manner, and how their lives have affected my philosophies.

Shaheed Bhagat Singh, 5' 10", Sardar, a beautiful person with a vivid sense of humour. He, who considered himself the designer of his own death, boldly stated 'The struggle for independence cannot be non-violent' in an era where a large population was striving to win India's glory,

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'peacefully'.

Everyone knows about his freedom struggle, but his struggle never ended; his spirit fights, to this day. Bhagat Singh was hanged, early in the morning, in Lahore Central Jail with his mates, Rajguru and Sukhdev. A certain moment of pride and shame was written, at the same time, in the Indian freedom Struggle. To add up to this shame, their bodies were not even buried; they were chopped, brutally, and inhumanly thrown near pole number 13 and 14 near the river Satluj. The villagers nearby collected the pieces and performed the rituals.

This valiant man, was also a romantic.

Bhagat Singh knew the value, the beauty, the significance and the serenity of a woman. Woman is an 'expression', he used to state. Rajguru beautifully explained about loving a beauty of a woman, when Azad suggested that loving women is regretful in the struggle for freedom, "Panditji, khoobsurat duniya ka sapna dekhne chale ho, khoobsurti se itni nafrat paalke?" Still, their only love was 'azaadi'. Such individuals at such a young age move minds, nerves, synapses and cells.

Gandhi also affected the life of the father of vernacular architecture, Laurie Baker.

During the three months when Baker was in India he got introduced to Gandhiji who at that time was a part of the freedom struggle. Gandhiji expressed his concern over the state of Indian architecture and asserted that much good could be done in rural India by committed Architects.

Gandhi's philosophy and charismatic personality thrilled Baker.

Baker returned to England briefly and then, taking gandhijis words to heart, he returned to India in 1945 after the World War II to see how his skills might best serve the people of India. In his first 3 years he traveled all over the country helping the leprosy mission. In the process he got exposed to indigenous architecture and was amazed at the way in which simple materials would be exploited to produce buildings with refined aesthetics and lasting qualities. Baker then met and married an Indian medical doctor Elizabeth Jacob and the two of them worked for years in the Himalayas, building and operating schools and hospitals, working w i t h l e p e r s a n d t h e p o o r. B a k e r established himself in Kerala in 1970 and worked with local materials in exploring indigenous architecture.

#bookreview

The Twentieth Wife Indu Sundaresen Isha Chaudhari III B.Arch chaudhariisha16@gmail.com

architectural techniques and technology but also building with additional Indian materials. A small incident of meeting a personality from India in turn rewarded India with the master of vernacular architecture working for India.

The feeling, as an architect for Laurie Baker is that, you are not after all trying to put up a monument that will be remembered as a trademark Laurie Baker building but instead, Mohan Singh's home, a space appreciated and loved, by him and his family.

The feeling about Gandhi has always been different for every individual in the country and its upto one's perspective to take up what he feels is important. But it goes without saying, that he has affected innumerable lives, in innumerable ways.

And the lives that he has affected, have affected even more. It's a continuous chain, that is ever growing, ever clinking.

And the sound that it makes, potentially is the sound of the changing world.

“O re bismil, kaash aate aaj tum Hindustan, dekhte, ki mulk saara yeh tashan mein, thrill mein hain....

Aaj ka launda yeh kehta, o re bismil, thak gaye.. apni aazaadi toh bhaiya, laundiyan ke dil mein hain....

Sarfaroshi ki tamanna ab hamare dil mein hain..."

-Piyush (Sahab) Mishra

The Mughal era is one of the most popular and highly talked about periods of Indian History. Rife with war and politics, love and art, the time saw it all, set against a grandiose backdrop of marble clad domes and intricately carved gateways. The stories of the royal family especially, were of great interest to the common man, and have since time immemorial, have been a spectacle of intrigue.

Thee author seeks to weave a story satisfying this very intrigue, blending fact and ďŹ ction through the story of one of the most mysterious and powerful ďŹ gurines of the time- Mehrunnissa, or Nur Jahan. The love story of Nur Jahan and Jahangir has been beautifully painted, and literally allows the reader to transcend time. Part of trilogy that runs the same course, the books are a dreamy retelling of this widely speculated story.

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Simplicity at it's best – Ar. Hasmukh Patel

Ar. Sameer Gujar Faculty, PVPCOA sameergujar.pvpcoa@gmail.com

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I was at another Feed Lecture here in Pune. The subject was Works of Ar. Hasmukh Patel, and his son Ar. Bimal Patel; currently the Director of CEPT Ahmedabad was presenting the works.

Usually Bimal Sir's lecture are oriented towards, how the projects are developed and financially and politically worked out, but this time around we saw a completely different Bimal Patel, explaining the works of his father, which not only showed his emotional connect but also his high respect towards Ar. Hasmukh Patel.

interest, his wife, Bhakti Patel, to be together for the rest of his life. He started working with Ar. Atmaram Gajjar's firm, which later Atmaram himself asked Hasmukh bhai to lead the firm after him.

Hasmukh bhai renamed the firm and thus formed the HCP, that we all know of today and is being headed by Ar. Bimal Patel himself. Parallel to his practice, Hasmukh bhai also started to teach at CEPT and became its Dean and nurtured the institute to bring in architects with various backgrounds on same platform to teach.

Hasmukh Patel, studied architecture at M. S. University, Baroda and Masters in Architecture from Cornell University, USA. One of his colleague being Mr. Ratan Tata himself. Hasmukh Patel was one of the frontrunners in shaping Modern Architecture in India, but did not get as famous architect of his era like Ar. B.V. Doshi and Ar. Charles Chorea, again a sad part where we as Indians, fail to recognize the heroes within our own country and look towards west for inspiration (though not negating the fact that there are great architects abroad too, but we cannot ignore the talent in our country!).

Hasmukh Bhai returned to India after his Masters, majorly to serve his own country but also to fulfil a promise made to his love

Bimal Sir also explained how the work environment in Hasmukh bhai's office was and how he passed through the first few struggle period to establish the firm.

Bimal Sir, explained the simplicity in the designs of Hasmukh bhai, where the design was more of Problem Solving, than just playing with form to make something different. Thus, many of his structures did not aimed at becoming iconic, but were more focused on the comfort of the users using them. For example, his own residence was a designed with the simple logic of designing space as per the usability. Like other modern architects,Hasmukh bhai too indulged in constructing in exposed concrete and brick structures. When asked about how did he managed to get such a great quality work in buildings like St. Xaviers

school in Ahmedabad and St. Xaviers Technical Education at Baroda, Bimal said that Hasmukhbhai would inspire the contractor to do good job, to get good quality. He said that people want to do good work and are ready to explore different possibilities, but what lacks is the motivation to do so, which Hasmukhbhai realised and applied to achieve the desired quality.

Bimal Sir, then explained how the era of standardization of building design started, in around 1970's, where the builders produced a building as a commodity to sell it later. One of the first projects Hasmukh bhai did was the Chinubhai Center and Patang Hotel, on the river banks of Sabarmati in Ahmedabad, which has now become the City Icon.

Later Buildings like State Bank of India and Dena Bank too went on to become icons.

Lastly, he ended the presentation with the belief of Hasmukh bhai, which even I think is what made his design so humble and simple. It goes like, 'The Human is the centre of my Creative Efforts. I believe in creating humane environments that adds vitality and joy to life.'

Graphics by : Ar. Sameer Gujar Faculty, PVPCOA.

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Less is Less

Niranjan Garde Faculty, PVPCOA niranjangarde@gmail.com

The repercussions of the idea of “less” are enormous. We will state some of them: The basic question which is entertained by the mind is: 'why' do something extra if the same action can be done with optimum resources/ effort and time? This leads to the understanding of the following approaches: I. Comprehensiveness of the situation: As an architect, 'I' am the climatologist, the botanist, the artist, the environmentalist, the technologist, the client's representative, the Creator, the Builder…all rolled into one. Thus, it is imperative on my part to know the context in totality (climate, place, people, perception, skills) which informs my synthetic process of designing and conceiving a solution for a given situation.

Solutions thereby tend to be 'grounded'/ local/ sensitive. On the other hand, if I sublet all above tasks to experts, I am unnecessarily complicating the situation and what might be delivered is a disproportionate solution (in physical size, costs, and carbon footprint) for a supposedly simple and humble scope.

II. Questioning the necessity of program/ requirements: Clients can be tempted to demand excessive requirements. Is it really necessary to satisfy all of them?

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Do we act only as service consultants or do we advice the Client on his/her actual needs? Can we suggest necessary reduction in program requirements? This is possible if we know the potential of multifunctional and multiuse spaces. We need to also know the potential of 'open' spaces that offer flexible usage. In the same parameter we are addressing the need for sharing of resources and moving against exclusive usage or excesses of private spaces.

V. The idea of “less” also means to drop of ALL social constructs that prove unnecessary baggage for us – prestige, fame, tradition, maybe culture, etc. We discover what thought connections are most important for our sustenance and what need not be entertained. We can do this by decoding phenomena which we encounter.

III. In terms of form, we start to move towards highly flexible and a simple form that seems almost diffused and expandable (derivations of a cube)

In the process of understanding and decoding the phenomenon, we realize the object (external) – subject (internal) relationship and we continue to decode our own thoughts till we reach the zone of a single thought and beyond which, we have Nothingness.

IV. In terms of experience (which is an important consideration), we try to always go towards the fundamental mood expected while moving and experiencing space – that of tranquillity (regardless of the 'function' of the building). While trying to go towards fundamental mood creations, we may realize the fundamental role played by light, air, nature, smell, sound and sight.

We may realize, we do not require anything else to enliven our spirits other than being fully present and aware of these natural elements! Summarily, I guess, architecture may feel only as gestural, 'open' and non-built.

VI. The extension to (V) is to decode our own mind, because the definition of 'phenomenon' is linked to the mind itself!

Therefore, we conclude, that the 'world' as we had believed to exist, can also be seen as an illusion (not to be treated as absolutely real). What we experience, therefore, is catharsis – dissolution of ego.

This maybe a painful process, a lonely process, a frightening process.

According to me, it is the process undertaken by the Intellect to outgrow Itself.

VII. Another way to move beyond the complexities of the mind (and therefore a universal/ profound experience (feeling) in a person. This is done through Art. Art, in its purest form, evokes a feeling (different from gross emotions) and takes us beyond an intellectual purpose. In this state, we do not (and need not) question 'why' of the situation. We just exist as an Experience. This approach is through 'feelings' and not the Intellect. In this process, we would not feel lost or lonely or anxious. Herein too, we have moved beyond the mind-body consciousness (ego).

abundance the experience of joy by slowing down the pace of action?

Is abundance to be 'loud' or is abundance to experience 'Silence'?

I leave these questions open for the Reader to ponder.

It is important to practice above approach in an age of abundance of choice.

What we are trying to understand is what really 'abundance' is?

Is abundance a matter of quantity and variety of forms (manifestations) or is abundance an indication of limitless potential of a fundamental space?

Is abundance a matter of visual delight or is abundance a matter of profound experience of potential by encountering the Void?

Is abundance the entertainment of a billion thoughts or is abundance the realization of unlimited internal Energy achieved by sharp focussing of a single thought?

Is abundance the ability to multitask a billion things in a single moment or is

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Celebrating the Humanized space in our built environments.

Ar. Hrishikesh Ashtekar Faculty, PVPCOA ashtekar.pvpcoa10@gmail.com

Does the picture perfect snap shot of the 'Designed' space seen in the Design magazine really exists in real life?

Unfortunately not, as the near laboratory conditions, where there is play of light on the materials which shape the elements of spaces without people in it is in reality a created scene for the architect to photograph the space at a particular angle.

Years ago during a discussion , a very senior design faculty , an architect remarked that most of the spaces designed by celebrated designers will not look the same the minute the photograph of maybe a designed bedroom will have a towel seen, casually thrown on the bed by the user of the space. So while we as Architects design spaces as a 'Static Sculpture' to be photographed for a magazine, in reality , people living in them shape it according to their needs .

As designers many times, we want to the control the design of the volume of space in every aspect just to make it look ultra modern minimalist space. We are in a big shock when the end user puts in a decorative carpet or colourful upholstery in the space after they occupy it.

This human intervention to design of space is often overlooked by the Architect.

Especially in Indian culture, just think “In time of festivals & occasions, how many times we change our living spaces?”

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It is not mere adjustment or multiuse but these little changes in the space brought by the 'Puja' at our home or any family gathering or the 'Diyas' we light in our houses during Diwali make our spaces lively and more humane.

Even more interesting are the temporary community spaces created by people with 'Mandaps' on streets & chowks as vehicular roads are transformed within no time into festive pedestrian arenas.Huge 'Rangolis' are made on the very streets making them interesting display of active colourful art forms which probably receive more appreciation & footfall of people than artefacts in museums.

I remember once while moving in the old city of Ahmedabad in 'Pol' areas, I saw a narrow street transform into a wedding 'Pandal', where dinner was being served to the entire neighbourhood.

These temporary spaces vanish & return to their old normal form immediately or the very next day, after the function is over.

Thus in short for every space in the built environment there are two components which exists. First the static component defined by the designed built elements which make them and Second the way the users modify it on their own to suit their needs & occasions.

So the question comes up “What then is the exact role of an Architect in Design of Space?”.

In my opinion every space designed in the built environment, be it inside buildings, landscape or urban design should have cognizance of two aspects: A. The basic composition of the Design of space & B. The opportunity of the space to transform itself to become more beautiful & lively when it is modified by the end users on various occasions to suit their needs.

It is said that the best & most successful spaces in the world are often those which are not formally designed by Architects.

Also most of them will not be 'Picture Perfect' to feature in any 'Avant garde' Design magazine but definitely would shaped beautifully and 'Humanized' by the people using them.

ALONG THE STRAIGHT FLIGHT STAIRCASE

The college, is a stage, and all the students and teachers merely players.

Thankfully, we’re the playwrights too.

Graphic : Tanay Bothara, Credits :Credits Tanay Bothara, V Yr. V Yr.

A window in the wall, a keyhole in a door, Let’s speak to you of the college, and of PVP lore.

Shearforce 17-18

Shearforce is an inter college event hosted by PVPCOA for all the colleges of architecture in Pune. Through it's journey of seven years, Shearforce has evolved from being just an event, to being a sports festival, a celebration for everyone.

It has become an influential platform to nurture a sporting culture amongst the architectural colleges.

Even though PVPCOA did not actually win any sport, the spirit of the game, the essence of this festival was never lost. PVPCOA is a big family bound together by many entities and Shearforce has always been one of the biggest ones.

This year, Shearforce was held on the 12th, 13th and 14th of January 2018.

Fourteen colleges from Pune and Mumbai participated in this event. Two new sports - Volleyball boys and Volleyball girls were introduced and received an astonishing response.

D Y Patil Lohegaon bagged the first place in Football boys and girls and also in Volleyball boys. Basketball girls and Volleyball girls was won by BNCA. The winner for Basketball boys was Minerva Colllege of Architecture.

PVPCOA was in the runners’ up position for Football boys and girls, Basketball boys and girls and Volleyball girls.

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Page Credits : Aparna Kher II Yr.

Moments With JP Sir JP sir for us is a teacher, guide and a very inspiring person. His helping hands, keen vision and sharp mind as well as prompt decisions always lead us to build a healthy college environment, he himself being a crucial part of it.

Everything sir does is a management lesson for all of us which trains us for our future.

JP sir along with the whole administration team have always been there as a firm support for each and every activity or event making it a huge success.

He being always involved in all college activities, his indefatigable efforts inspire us all as students, his blessings always being there with us in through our thick and thin.

We, as Exhibition team wish prosperous future of our institute.

-Viraj Gapchoop -Exhibition Team Secretary -III YR JP sir as we all fondly call him, is one of the numerous unspoken pillars of PVPCOA. Going beyond being a Secretary he’s been as a friend, philosopher as well as a guide. He’s always trying to push the student beyond his/her limits and helping to realize one’s true potential. Being with us through thick and thin these are a few words which the students feel about him.

The way sir initiates himself into the student’s interest is what makes the real difference. Difference between just granting the permission and adhering to the permission granted. Once an agenda is set, sir’s attention is persistent.

There is an inner urge, an urge to help that student and put his opportunity into reality.

Putting that urge on the student’s shoulder with subtlety is the real art.

JP sir’s follow up is always an acceleration and never a push or drag.

-Parth Mathkari -Colonnade head -III YR

Hats off to JP sir for his unstinted support for every minute things we have done so far in the college! His continued support and guidance has so far always encouraged and pushed us to do better for the college.

I thank him for his stewardship support, vision and commitment which he has always shown towards student’s proposal and his urge in bringing them into reality.

-Aayushi Poreddiwar -Canteen cut out head -III Y R

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Stories From the Director’s Desk Behind the Glass DoorProf. C.S.H Jhabvala as told to Isha Chaudhari

by Ar. Prof. Prasanna Desai

It was a pleasant Tuesday afternoon, when we entered PD Sir’s office. He was sitting at his desk, perusing an old book. He motioned us to sit, and for a few minutes, all of us merely sat in silence. And then, sir looked up, peering over his glasses, and pushed an old black binder in front of us.

“This is where the journey started.” he said.

The binder was a compilation of briefs and notices, dating back 30 odd years. “It’s called cyclostyle. Your generation might only see this in movies now.” He flipped the pages, all detailed briefs of his assignments at SPA, crisp instructions and guidelines in black and white. “Whatever you see at PVPCOA today, is a humble reflection of the time I spent at SPA, its methods and its workings. And do you know what SPA was?”

He pointed to a small scrawl at the bottom of the brief.

It was signed Prof. C.S.H Jhabvala 5th July, 1974.

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“My earliest memory of Prof. Jhabvala, is the first day of my life in architecture, 5th July, 1974. Prof. Jhabvala came into class, and addressed a young bright eyed group of kids. He welcomed us , initiated us and talked about the culture of architecture and SPA. And then he said, “your seniors are quite mischievous. You will be ragged. Tolerate if you’ll learn. But if anyone tries something funny, search for the nearest brick, or stone, or any other object, and hit him on his head.” On the first day itself, he took us into confidence, his words like a comforting presence all throughout our five years.

And his presence was always noticed, in college. His office had a door, made of blockboard. When he assumed office, as recounted by Prof. Mohammad Shaheer in his tribute to Prof. Jhabvala, he cut the door panel, and had glass put in. He always believed in maintaining transparency, with his students as well as faculty, and with this gesture, proved, that his guidance and ear was always available to those who sought it. And all his actions and words, had an undercurrent of concern for the students. He would personally look into it, that the girls would be safely dropped home if college ran late.

And on days when college was open till late, there would be chai and samosas for all.

But just as he was benign, and just, he was a disciplinarian, in deed and words.

He valued two things immenselycleanliness and punctuality. When Prof.

Jhabvala was the head, the college was spotless, not a single thing out of place.

He also required everyone to be punctual, students and faculty alike, and he ensured it. Such was the respect and subordinance he inspired. And all of this, coupled together, created a beautiful environment for the students to grow in.

He taught construction to the first year students. The first class of construction that he conducted with Ar. Vinod Gupta, he asked us to write an essay on a brick. We, the novices, were confused, whether we were attending a construction class or a literature class! But such were his methods.

There is an incident that stands out in my mind, even today. We had been taken for a site visit, pertaining to a particular topic. And as we were waiting on site, a shiny black car pulled up, and a man stepped out of it. The man was Prof. Jhabvala, and the place, was a brick kiln. Despite being the head of department of one of the finest schools of architecture, the fact that he would accompany the first year students to a site visit for something as mundane as a brick kiln, was commendable, in my eyes. But Prof. always had a very different view on teaching and interaction. And the brick, for him, was no mundane material, as he went ahead to demonstrate to us.

Education, in SPA, was very different. In art class, that spanned 3 years, we were shown films on Picasso, on maestros like Bismillah Khan, and the like. To understand anthropometry and anatomy, we were encouraged to do nude sketching, with Jhabvala disregarding tabboos, and seeing it for what it really and only was- art. In services class, he made us feel the inside of a nahni trap, so that we would be able to d r a w i t b e t t e r. H i s m e t h o d s w e r e unconventional, but they made us better architects.”

In the movie Annie, made by Arundhati Roy, he is called Yamdoot. But the movie fails to capture the true essence of Jhab, his magnanimity, his humanity and his genius.

To most of the students, he was a khadoos professor. But to those who had the intent to learn, and the willingness to work hard, Jhab was the quintessential mentor. It is very easy to tell someone that they are wrong, but very difficult to exactly say what is wrong. And Jhab, did exactly that.”

We had reached a blank divider page in the binder. As he flipped it, Desai sir asked us to scrutinize it. “Can you guess what’s wrong?” The answer lay in a small print at the top of the page. 1976-1977. Where was 1975?

“I failed first year. I took ill at the start of the academic year, and could not attend college for a month. My parents were very upset.

We went to Prof. Jhabvala with our predicament. He quietly listened to us, thought for a while and then said, “Take a drop.” For him, it was simple. In how many years you do architecture doesn’t matter, how you do it, matters. And today, I am glad, I took his advice. I took the drop, recovered, worked, and then rejoined, more determined than ever, ever encouraged by Prof. Jhabvala. After that, I completed my education. Even today, we consider ourselves fortunate to be one of the last few batches under him. He went on to become the Director and then soon retired and shifted to the United States to stay with his daughter. I went on to start my own firm, and began my practice as an architect, with his teachings always close to my heart.

As I kept down the phone, I couldn’t help but wonder at this cruel twist of fate. With a heavy heart, I departed, without meeting the man. He passed away in 2014. And that missed phone call, and that missed meeting, remains one of my greatest regrets.

Today, Jhab lives on, not only in memories, not only in SPA, but in the heart of PVPCOA. Whatever you see here, whatever I do, is inspired by him. He was the quintessential idol, by his virtue, a fantastic motivator and the very glue that held the college together. He was witty and he was sarcastic, and he was honest and kind. Jhab was not just a mentor, not just a great architect nor just the director of SPA. He was, and always will be so much more. For he was an idea, that today, lives in the hearts of every architect who trained with him, inspiring generations to come, and I consider myself honoured, to have been under the wing of Prof. C.S.H Jhabvala.”

(above) Prof. C.S.H Jhabvala (below) Sketches from the book ‘Delhi : Stones and Streets’ by Prof. Jhabvala.

In 2012, I was in New York for a United Nations event. In the course, I was supposed to meet Robin and Rashmi Sen, two senior friends of mine. I called them on Thursday, but they did not pick up. For the next few days, I was busy with the event, and few other agendas, and I came back to Manhattan on Monday. 12 noon, I had a flight, so at 10 am, I called them again. And in the course of the conversation, I asked them about Prof. Jhabvala. Robin Sen, answered saying that he was keeping well, right here in New York. And imagine my surprise when I realized his address in New York was three blocks away from where I was staying! But I could not go, since I had to board a bus at 12.

If only Robin and Rashmi Sen had picked up the phone call. If only I had had this conversation earlier. If only. If only. If only.

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architalk Ar. Sathya Prakash Varanashi

Ar. Sathya Prakash Varanashi came to visit our college on 23rdDecember, 2017,after his FEED talk, which was mostly based on nature as an architect and thedifference between nature andarchitecture.

“In Nature things evolve, grow. In our case things don't grow, we construct.”

Rather than sharing his work and experience, he made us think throughout the talk by asking us many questions. He asked us why allthe cities look similar in these timesthan earlier times. What is thedifference between designing andorganizing, then questioned theprocess of graduation. Can wegraduate beyond graduation? Or isgraduation a continuous process or astatic process?

His talk revolved around architecture as a precondition, whatever humans are doing since past is for the betterment of lifestyle, but are the situations now better than earlier times? Saying whatever happened in past were the preconditions for whatis happening now and this cycle continues further.He ended the talk asking us what Architecture is for.For himArchitecture is to Track, Map, and to make memories.

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Ar. Sujata Kohli.

Ar. Revathi Kamath

Ar. Sujata Kohli is a landscape architect currently practicing in Delhi. She visited the college on 4th February, 2018. She is a person with tremendous knowledge and strong opinions, as was evident through the tete a tete we had with her.

Ar. Revathi Kamat is a graduate of SPA, Delhi, and currenly has her own practice there. She visited the college on. An opiniated and strong personality, she engaged the students for 2 hours with her mesmerizing and inspiring experiences and talks.

She believes that knowledge is best gained through experience, through touch, and through feel. That architecture is one such field, where education cannot be confined to a studio, and practical training is of utmost importance.

She has designed a school in Maheshwar, Madhya Pradesh, which has been widely appreciated by the users and the architectural community. She shared with us her experience of the design and construction process of the same, and then went on to talk about the state of education, and the perspective towards it.

She talked about how architecture can create spaces, that can change perspectives, and lives. Of how architecture and design, should always have an impact. Not only on human lives, but also on the context around.

A space, is less about the structure, and more about the context in inhabits. The beauty and comfort of a structure despend on how its sits with its surroundings. And architects should concentrate, not only on beautifying the space within, but also the space outside, to increase functionality and aesthetics of the space as a whole.

She also talked to the students of the importance of building with the context.

That the structure and landscape cannot be designed with different design processes, but instead, need to be thought of, in a singular design process.

She talked to the PG Landscape architecture students about their course and how they should be studying it. In more than an hour long session, she interacted with them, and guided them through any difficulties that might have.

Her visit greatly benefitted the students of PVPCOA

Her words proved to be a source of inspiration for the students that they will no doubt ponder upon and implement ahead.

TRIVI ARCH

AQ

16th June, 2017.

18th July, 2017.

ROOKIES 5th August, 2017.

Triviarch is an architectural quiz competition held in PVPCOA by the academic team with the intention of increasing the general knowledge of the students and prepare them for the city level competition, called AQ (Architectural Quotient.) The quiz has questions set by a few students related to architecture and its parallels. Each team comprises of two people out of which one has to compulsorily be from the junior most class. It works on two levels- the preliminary and the final round. Enthusiastic students participate in full vigour as it provides them with an opportunity to showcase and increase their knowledge.

Conducted as a precursor to Archumen, Architectural Quotient or AQ, is an intercollegiate quiz competition held for students from colleges in and around Pune. It was conceived in 2008 and first conducted in 2011. PVPCOA hosts this event in collaboration with IIA, Pune.

The quiz comprises of a preliminary round and then, when 6 finalists are selected, a fast paced buzzer final round is conducted y Ar. Prof. Prasanna Desai. The quiz is extremely popular with other colleges and a huge number of students from all colleges participate every year.

This is a healthy competition between the students of all colleges and is conducted to increase the quizzing culture.

The ACARA (Asian Contest for Architectural Rookies Awards) is an Asian level competition and the national level round was successfully orchestrated at PVPCOA. 55 contestants from over 40 colleges across India contested in the competition. The contestants are required to present third year final projects to an esteemed panel of judges. The gold winners get an opportunity to present at the Asia level round in Mongolia. The event usually happens in the first week of August and is convened by Ar. Prof. Prasanna Desai. The students also get an opportunity to see the level of work being done by architecture students from all over the country, the projects and presentation skills.

Winners: Mehul Agarwal (I) Kushal Darda (IV)

Winners:

Winners: Sumeet Joshi (PVPCOA) Tanvi Deolekar (Aditya COA)

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BKPS College of Architecture

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Achieve 17

Sumeet Joshi (IV Yr) won the Gold Medal in Indian Domestic contest for A.C.A.R.A 2015 ( Asia contest for Architectural Rookies award).

Atharva Ghogale (II yr), Janhavi Kamthe (II yr), Ravi Verma(II yr) won Mindrain 2017

Kaustubh Zawar and Gaurav Chordia’s project got selected in top 10 for ďŹ nal Public Jury in National Awards for excellence in Architectural Thesis West Zone (NIASA).

Kushal Darda (IV Yr) and Sandip Kale (IVyr) won the 2nd prize for Architectural Quotient (AQ) Quiz Competition.

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ments 18

Gaurav Chordia, Reetwik Malpani, Varun Shah and Ronak shah were among the top 10 at Asian Youth Design Awad ( A.Y.D.A) , Gaurav Chordia stood 3rd.

Tejal Shotriya and Sumeet Joshi (IV Yr.) were short listed for participation in Asian Architecture Students Summer Workshop held at Osaka, Sabaee Japan.

Kushal Darda (IV yr) and Mehul Aggrawal Prasad Somvanshi and Rushikumar (II yr) Stood ďŹ rst in Chaudhari won The Drawing Board Competition organised by Rohan Triviarch 2017-18 Builders.

Kushal Darda (IV Yr) and Sandip Kale (IVyr) won the 1sr prize in Archumen 2017-18

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Outdoor Classroom Relative Study Programs 17-18

I

II

III

undi is a town known for its miniature paintings done in 13th to 17th century.

These paintings have stories to tell about the daily life and activities of people and animals. What our research work included was that we had to compare and decode the elements in those paintings with the present life and architecture of Bundi. On the first 2 days we roamed the city and went to the well known places with the faculty, walked through the streets of Bundi with them, where we had explanations about how architecture has an intense impact on the life of people around it.The remaining 3 days we spent exploring the city on our own. We went to the fort, the Bavadis (step wells), cenotaph. Bundi used to be light yellow before and now converted to blue city. Bundi has 2 mountain ranges - Vindhiyan ( flat mountains) and Aravali (peaks more focused) The soil is rocky. People white wash their houses with using boiled lime (choona) and adding NILL which kill all the termites spiders, hence the houses look blue. Chhatris were a prominent feature of Bundi used as watch towers around the mountains. First time we had an experience of travelling a place not as tourists but as learners where we just didn't ‘see’ new things but ‘obseved’ them carefully.

B

t all started with extreme enthusiasm.

Aware of the geographical, historical, checklist as we all were, we had no clue about the platter which was kept in front of us, unheard, untouched and above all the land where hope resides.

The relative study programme was basically to make us sensitive of the architecture of this picturesque place and imbibe that there is more out there to explore and learn from. Talking about the exploration, this land has not only given us an exposure in terms of celebrating the existence of land but also has connected with each and every one of us in it's own way. Every individual of us defines this divine land in a language of his own. Somewhere between the process of documenting Majuli on site and producing the plans, sections, elevations until late night cups of teas lies the actual understanding and connection of this 352 sq.kms. and with 80 different perceptions. This is just the beginning of a journey ahead in which we all will be indulged in making an attempt of portraying each of our expressions of the 3 nights and 4 days in which we tried our level best to witness this legacy and thus we all say, “We open at the close!”

I

aisalmer or Amritsar? A tough decision to make but the aromatic food , the humble people and the dynamic history linked with Amritsar won by a small margin over the rich culture and heritage Jaisalmer had to offer. The place where everyone helps the other despite of its hardships and otherwise with its heart and soul residing in and around Harminder sahib would restore anyone's faith in the fact that humility does still exist. A place known to all but unknown to many has still been able to stick to its roots even if it deals with lack of space. The density within the walled city has helped create streets above streets with the help of common terraces.

There won't be any space on the sofa but there definitely would be in the person's heart . Amritsar being much more than its food ,the planning within the walled city has been with Harmindar sahib as its core and the lanes emerging out radially housing different occupations from centuries. The lanes weren't only used for commuting but the galliyan held everyday conversations and celebrations to which everyone was a part regardless of their origin . this warmth from people was also experienced in Chandigarh even despite the fact that the city is well planned and ordered.

Netra Mundada I Yr. B.Arch

Atharvi Netragaonkar II Yr. B.Arch

Namrata Sowale III Yr. B.Arch

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J

BUNDI Graphics by : Ayush Pandhare I Yr. B.Arch

AMRITSAR Graphics by : Karan Parab & Kaushal Tatiya III B.Arch

MAJAULI Graphics by : Abhijeet Pardesi II Yr. B.Arch

57

astitva GEN. SECRETARIES IV YR

Sumeet Joshi

students’ TREASURER mentors

ACADEMICS mentors

V YR Shubbam Rathi

V YR Prajakta Ghatge Suresh Batra

advisor

forum

EXHIBITION mentors

CULTURALS mentors

advisors

V YR Aniket Raskar Shamika Ghate advisors

V YR Vaishnavi Paralikar Onkar Joshi advisors

IV YR

IV YR

IV YR

IV YR

Parnavi Khanvilkar

Aleena Mariya

Shubham Kothawadekar

Vedika Rathi

Yogesh Surkutlawar

Rutvik Paranjape

secretaries

secretaries

III YR

III YR

Viraj Gapchoop

Ishita Suratwala

V YR Shubhada Gumphekar

Apurva Patil

Pallavi Laddha

advisors advisor IV YR Shamali Padalkar

convener

team

Omkar Hiremath

Unmesh Jawalkar III Yr. Pushkaraj B. III Yr. Vinay Jakotia II Yr. Sakshi Thorat II Yr. Ravi Verma II Yr. Mayur Pacharne II Yr. Shruti Kochar II Yr.

Nirmit Shah

secretary ADMINISTRATION

III YR

Sayali Thakurdesai

mentors V YR

Kiran Karachiwala

Ruchi Kumbhani

advisor

team

IV YR

II YR Anisha Joshi Pritish Jain

Nirmit Shah secretaries III YR

INSIGHT Bilwa Gulawani secretary III YR

Meera Ganjave team

mentors

Madhura Gupte

secretary III YR Gayatri Gosavi

II YR

Roma Ambekar Abhijeet Duduskar

58

Tanya Chanchlani

team Raj S. III Yr. Pranoti R. III Yr. Mrunmayee P. II Yr. Atharva G. II Yr. Nikhil T. II Yr. Janhavi N. II Yr. Aishwarya P. II Yr.

Vivek W. II Yr. Rohan S. II Yr. Sakshi G. II Yr. Janhavi K. II Yr. Priyanka S. II Yr. Namrata H. II Yr. Ruchita O. II Yr.

17-18 FILM

PHOTOGRAPHY

ENVIRONMENT

SPORTS

FOOD

mentor

mentor

mentor

mentor

mentor

V YR Stuti Tank

V YR Sanika Nhata

V YR Akshat Agarwal

V YR Shalvi Gujar

V YR Rachana Chudiwal

advisor

advisor

advisors

advisors

IV YR

IV YR

IV YR

advisors IV YR

Kaushal Mehta

Yuvraj Shirke

Chandrashekhar kondabattini

Sumeet Joshi

Ankita Vora

secretary

secretary

secretary

III YR

III YR

III YR

Rujuta Chauhan

Pushkar Gujrathi

secretaries

secretaries

III YR

III YR

Aditya Bhole

Kajal Parakh

Pranjal pitaliya

Siddham Nahar

team

team

Karan Parab

Rugveda Sawant

Yash Khinvasara team II YR Nupur Phadnis Rajashri Wavare

Mihir Ghotankar

Abhishek Patil

Ketaki Ghodke

Namrata Sowale

team

team

II YR

II YR

Yash Lele Mohit Tatooskar Pranit Bora

IV YR

Shubham Ghodke Vaibhavi Pujari Somesh Kachawar Nikhil Patane

II YR Kanika Agarwal Mehul Agarwal Adarsh Yadav Akanksha Jadhav Urvi Karmarkar

II YR Darshana Lunkad Anuja Mande Sidhhi Kapre Neeraj Naulakha Vineet Sethia

59