Khabar, Greeshma ni | Issue 2 | 2021

ISSUE 2 | JULY 2021 VOLUME 1 Pages 26

TALES FROM PAST

Nabakalebar Re-Embodiment of Lord Jagannath, Balabhadra, and Subhadra takes place during Nabakalebar. It is an occasional festival at Puri. Daru Brahma are the deities adorning Ratna Bedi of Sri Jagannath Temple at Puri. ’Daru’ means wood here. The idols of Lord Jagannath, Balabhadra and Subhadra are made from this Daru wood. The rituals at Temple are performed in a very human-like way. From the birth of the deities to their bathing, feeding, their change of clothes as well as going through their death. Most Nabakalebar are performed at the gap of 19 years during which the old idols are buried and new ones are carved from these neem wood and are the re-incarnated forms of these deities.

https://www.bhubaneswarbuzz.com/updates/festivals/nabakalebar-2015-sacred-woodfor-lord-balabhadras-idol-found-near-sarala-temple

http://magazines.odisha.gov.in/Orissareview/2015/Apr/engpdf/1-5.pdf

EDITOR’S NOTE

Dear all, welcome back with the greetings of transforming seasons!

We are delighted as many fraternity members, academicians, and students have appreciated our concept of creating meaningful dialogue with society in the form of a newsletter. I, therefore, wish to express heartfelt gratitude for your overwhelming response for our initiative ‘Khabar’ and its first issue ‘Khabar – Vasant ni…’.

So, here we are, with our second issue ‘Khabar – Greeshma ni…’. As we are committed to continue the high spirit and morale, you will surely find this issue as interesting and instigating as the first issue was. We are on the threshold of transformation of two dynamic yet diverse seasons – ‘Greeshma and Varsha’, where ‘Greeshma’ is a hard and harsh season that challenges each living system of our region, in which on one hand, it’s a time of ‘Test – Test of survival against extreme heat and scarce water’ and on other; it’s time of ‘Taste – Taste of our very own, Keshar Keri and other delicious heat bursters’, while ‘Varsha’ is a season to relish and cherish the blessings of nature in form of Rain, and it’s time to harvest the crop and to celebrate the festivity of green.

We, henceforth, attempt to collaborate the essence of both distinct seasons and its social and architectural responses in this issue. Once again, I wish to mention that through these newsletters, we wish to discuss the activities of the school campus in the past months, students’ reflection on design, nature, and the world through their eyes. In addition, through our articles; we wish to bring in and emphasize our regional culture besides discussing architecture, by encouraging dialogues from all facets of life.

Hope to receive your continuous support and constructive criticism, see you in our next issue of ‘Khabar – Hemant ni...’.

- Hakimuddin Bharmal

Newsletter Team

Hakimuddin Bharmal

Jayesh Shukla

Devashree Jadeja

CONTENTS Editor’s Note

1

Khabar, IPSA ni

2

If I could be a writer for one day - or 3 days here!

3

Polychromatic Re-construction of Space

4

From the archives: Documentation of Navghan Kuvo Junagadh

5

Former Fellows

6

People’s place

7

Thought-scape

| Vichaar-Vimarsh

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Cover:

A prince receiving water from village girls at a well India, Awadh, circa 1760-70 Medium: Gouache with gold on paper

Click to view actual painting http://www.sothebys.com/en/auctions/ecatalogue/2015/arts-islamic-world-l15220/lot.150.html

KHABAR expresse transmi

મૌસમ વર્ષા તો સંગમ ની મૌસમ છે સુમધુર સરગમ ની મૌસમ છે મૌસમ છે સંગમ ની વૃદ્ધ વૃક્ષો ને યુવા પર્ણો ની વીજ કડાકા ને નવા કર્ણો ની મૌસમ છે સંગમ ની સૂકી ધરતી ને લીલા આંચળ ની ઉંચા પર્વત ને કાળા વાદળ ની મૌસમ છે સંગમ ની ઉછળતા પાણી ને ઉડા કોતર ની હરખાતા ખેડૂત ને હરિત ખેતર ની મૌસમ છે સંગમ ની તીખા તડકા ને કુ મળા છોડ ની ખાબોચિયા ને બાળ-રણછોડ ની મૌસમ છે સંગમ ની ભીની હરિયાળી ને તરસી આંખોં ની અસીમ આકાશ ને નાની પાંખો ની મૌસમ છે સંગમ ની દિગ્મૂઢ માનવ ને મંગલ તહે વાર ની મહાદે વ શંકર ને શુભ સોમવાર ની મૌસમ છે સંગમ ની અઢળક નીર ને છલકાતા જળાશયો ની ધસમસતા પૂર ને પાંગળા આશ્રયો ની મૌસમ છે સંગમ ની મોંઘેરી મંઝિલ ને મહે નતુ મુસાફિર ની લાખેણી કવિતા ને શાયર ‘તાઈર’ ની -તાઈર, ૦૯-૦૮-૧૯૯૭

R is an initiative taken by Indubhai Parekh School of Architecture to engage, debate and disseminate work. All views ed here are sole responsibility of the author. No part of this publication maybe reproduced, stored in a retrieval system or itted through photocopy, scanning without authorization and prior written permission of the principal, IPSA Rajkot.

KHABAR, IPSA NI...

Riddhi Shah | Devashree Jadeja

IPSA hosted exciting electives, lectures, book launches and seminars during this quarte Eminent architects were invited for the semester end juries to review and give their me

COLLECTIVE DWELLINGS | DS IV

individuals. The students relied more on their instincts and experiences rather than secondary sources.

Studio: Collective Living at the Old Core, Bhavnagar

Design Studio IV_Collective Dwelling_Batch 2020 Jan-May 2021 Studio Team: Mentor: Prof. Neelkanth Chhaya Studio Coordinators: Riddhi Shah, Rupesh Patel, Rushikesh Kotadiya Studio Assistants: Bhavesh Wadhwani, Divyesh Parsana, Apurv Patel Jury Panel: Vijaykumar Sengottuvelan, Sohan Nilkanth, Uday Andhare, Snehal Nagarsheth, Vishwanath Kashikar, Mona Doctor-Pingel, Meeta Jain Studio: Asmakam -Living environment for a group of 8-10 families This studio focused on learning by doing and exploring the concerns of belongingness as experienced by an individual (themselves) and a family. The narrative for the studio revolved around identifying the sense of a dwelling that each one has been experiencing since their childhood.

Hence; based on their past experiences, individuals had to design their future homes. Eventually, they designed a community of 7-8 families living together at a site in Rajkot. This studio attempted to decipher the experience already embedded in

The studio attempted to understand the collective living environment and complex inter-relationship of an individual within community/families and between their surroundings in a socio-cultural context. The studio tries to understand various form of physical manifestation of the built environment, to understand shared spaces of the neighborhood, mutually dependent living, the relevance of house type, definition of a house/ dwelling is not independent of neighboring houses (open space of a house is defined by surrounding built form), making of a house and resources of the place, etc.

Post jury feedback and discussions: The work done by the students was received well with a positive note by all the members of the jury. The students were exposed to the ways of imagination and the ways of drawing; both are parallel activities and must be practiced simultaneously. The concerns primarily focusing on collective living like the changing sociology structure, presence and need of gendered domains, identity amidst variety, ‘type’ in a building - traditional vs. aspirational, public vs. private, and the sense of territoriality were discussed. Intriguing questions were raised based on the students’ approaches: Who is the user group? Does knowledge about the users change the building type or spaces?, What is the layering of a program, and how to respond to them?

Should there be a front and back of a building?

How do you respond to different situations of the contexts? and many more… Eventually the discussion leads to the process of learning that deals with exploration and enjoyment. Rather than an evaluation tool, these sessions proved to be a unique celebration of students’ efforts.

er. The mode continued to be online for both events and academics. eaningful insights.

IPSA HOSTS INTER-NEPIND

IPSA has been a part of an ERASMUS internationalization program with INTERNEPIND. We hosted an exchange of ideas and presented ‘Strategic partnership and institutional networking for internationalization of higher education. The presentation included an overview of INTERNEPIND, Internationalization At Home (IAH), its importance as well as the role of IPSA as a nodal institute for Capacity Building for Higher Education Institute (CBHEI) and IAH for our region. We also discussed the way forward for CBHEI and IAH for our region.

The invited universities also shared and discussed ongoing international academic research and training programs, interaction with international students, faculty, research fellows, and partnerships or networking tie-up with regional and international institutes; dual degree or joint degree programs, joint study program, and credit transfer system as well as the student-faculty exchange and mobility. A need for infrastructure for an international office and other co-curricular cultural events.

The constructive comments on the benefits of internationalization in today’s time each, Institute raise their concerns about its application in the existing setup. There needs to be a lot of exploration of trans-cultural boundaries in the time of pandemic which raises the possibilities of internationalization at home. The SIP prepared

by IPSA was discussed in detail and will be shared with all the participating institutions.

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ALUMNI REGISTRATIONS, IPSA Alumni Association of IPSA has been formalized under The Public Trust Registration Act 1950 as Indubhai Parekh School of Architecture Alumni association (IPSAAA). Registering IPSAAA as a formal body was the first step towards working together and gain its benefits. The committee has been meeting on-line and off-line to discuss various possibilities that can be offered and received as members of the association. Currently we are offering membership to students and faculty of IPSA under three categories as Alumni, Student and Faculty.

Recently an on-line meeting discussing the objectives and future plans of the association was held on 12th June. Constructive suggestions on scholarships, fellowships, alumni meets and chapters in various cities were discussed.

A collaborative approach of bridging the gap between academia and practice through introduction of training programs and workshops were debated.

At this juncture the committee is working towards collating biographical data of all Alumni. Requesting all alumni to fill it earliest as possible.

Link to form : https://forms.gle/31dGWMR92UxhsXKK6

IF ONLY I COULD BE A WRITER FOR A DAY- OR

Dhwani Sanghavi

It took me just three days to go from a bad writer to a good one. Yes! I had the opportunity to attend one of the theory electives for the ongoing batches “Architectural Writing”. Of course, I attended as an alumnus by requesting this chance. It was conducted by a published author Ar. Pappal Suneja who joined us from his hometown of Ludhiana, perks of the pandemic.

Over five years of architecture, we read more about architecture and hardly ever wrote.

This tamed us to critic more and create less.

I don’t remember writing debatably about my designs as a student of architecture. This workshop helped me correct that. It was a task bases workshop wherein we were given two tasks over three days -- the first one being a summary of an architectural book and the second one, to write a descriptive essay about a building one likes or has visited.

The first day passed in getting used to the tutor, his exercises-- short tasks of taking pictures from one’s terrace or street, making a collage of city furniture, discussing pictures one took on travels in the past. This helped us build a vocabulary that was simple yet effective.

The second day began with a discussion of homework given to us. The task was interestingly designed to keep us occupied and begin the deep dive into writing.

Participants chose from a movie or a book and wrote about the architecture in them. I took the book ‘Aalto’ penned by Louna Lahti.

It was rather confusing when a third person writes about an author’s perspective. It was a task to keep the architect intact and not quote the author.

The conclusive paragraph included my opinion about the famous Finnish architect.

This brought to the surface an age-old question ‘Who am I to comment on a celebrated architect?’ When commenting on the artist who stands tall, it humbled me down, and I was no exception. Naturally, Ar. Pappal lifted my spirits by making me write “me” on the same.

The final day was when all the fun began.

But alas we didn’t have more time. The day began with content faces of having done a task well. It was time to discuss the essay on a building visited by the participants.

Few took familiar, few a well-read one while I took the one I had the chance to see firsthand: Swarovski Kristallwelten, Austria.

Collages were made to enhance the visual contexts for others. This is when most of us were inspired to write, to express, and read with a soft spot for the authors.

What started as a compulsion for the students and an interest for the alumni turned out to be a skill I would pursue in the future. Electives are not just curriculum.

They are the seeds to an alternative career path, a road less taken. A road I was terrified to take. What if words aren’t architecture?

However, it depends on us to build an image with bricks or with words. It should all lead to a finer world. As you read this, I write my first article- a seed already being planted.

R 3 DAYS HERE!

Personal Images clicked at The Garden, Swarovski Museum in 2019 with Nikon Coolpix L120.

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A MILLION SILENT STARS

Sitting in an isolated lush landscape of the Austrian Alps is the Swarovski Kristallwelten designed as a whole by three well-known firms- Snohetta, S_o_S Architects, and CAO PERROT Associates. The campus is an experience attraction curated by Andre Heller. The campus consists of The Giant, The Garden, and The Play area. If one must go look for a galaxy not so far far away, this place seems to have just the right number of millions of stars. Designed as an Ode to the Swarovski Crystal The company as it completes 100 years in crystal manufacturing, the museum has 17 chamber of wonders- each curated by a different artist in their style. These are a palate of multisensory experiences as one walks from chamber to chamber. Each chamber opens up to a new idea, new sense all the while displaying crystal interpretations of Salvador Dali, Brian Eno, Tord Boontje, Niki de Saint Phalle, Jim Whiting, Keith Haring, Andy Warhol, and Yayoi Kusama.

The crystal dome is inspired by Buckminster Fuller’s geodesic dome. In one more fascinating chamber hangs a bright orange crystal sun- the center of the solar system as well as this space. With only one light inside the crystal sun, it resembles closely to its inspiration. As the visitor proceeds, he is encountered in a world of emotions in the Indian accent and suddenly to the darker chamber depicting the contrast. This journey goes on for about 12 more chambers-crystals and more crystals. All this happens under a huge dome itself. Outside was the most interesting part of the experience. Called the Garden, it hosts crystal clouds over the black water, mirror pool. It is a circular shallow water feature with calm waters to witness the shimmer of the crystal clouds. These clouds are a structure of metal mesh laden with crystal depicting the Biblical story of the sea monster. It is truly surreal to stand in this vast landscape as Lilliput among Gulliver. As one travels, the campus is not only a celebration of precision-cut glass but also of the rich history of this part of Europe. It houses antiques, ruins excavated from the site itself dating back to the 3rd century Roman Empire.

The additions by Snohetta were the visitor’s center with stark concrete columns finished to look like pine tree trunks. The play area is a resting and interactive space for children including a labyrinth and a carousel. Upon visiting the Swarovski Museum, what amazed me was it didn’t look like the work of three separate entities. It all weaves together beautifully to create a sensorial affair of spaces, landscape, and art. I went as a witness of a simple crystal display lined up in glass cases but came out eyes gleaming of the majestic shiny museum of a million silent stars.

Personal Images clicked at The Garden, Swarovski Museum in 2019 with Nikon Coolpix L120.

THE POLYCHROMATIC RE-CONSTRUCTION OF Janhavi Savaliya | Parsons School of Design , 2022

In spring of 2021 I was lucky enough to take an elective called “Polychromatic Reconstruction” taught by David Gissen. Polychromatic reconstruction typically describes the practice of visualizing the lost, colorfully painted surfaces of ancient classical sculptures and buildings. This seminar examined this practice through a much wider range of case studies and through a far broader concept of color recovery. The course explored polychromatic reconstruction globally and historically, in world-wide ancient and modern artifacts and environments; materially, by understanding the histories of colorants and their production; environmentally, by understanding the role of light and air pollution in color transformation; theoretically, by exploring pre- and post-Newtonian theories of color perception; politically, by understanding how the practice often becomes entangled with contemporary debates about subjectivity, race, and disciplinarity; and culturally by understanding what character and values it imparts on a surface. Throughout the course, we had discussions on monochromaticity, etiolation, colorization and commercialization, sexuality, disability, media and reproduction, ideas about dirt and cleanliness, formalism, while questioning lifestyle and traditions. It was also emphasized enough during the seminar, that color is not a rainbow, but a site through which culture imparts some of its most explicit cultural and political attitudes into concept of human perception.

He asked us to investigate a case study or area of interest in relation to the reconstruction of color in built form, and throughout the first half of the course, I couldn’t stop thinking about the stepwells of India, being some of the most colorful (physically and culturally) lost treasures of India. I have always tried to relate my education here with Indian architecture, this seemed like the perfect subject for this project. Choosing the case of Chand Baori – a kund in Rajasthan, it was entrancing to see how the scarcity of water required them to innovate and build these structures using complex mathematical calculations, becoming a public social space while the still water serving additional purposes like being used as a tool for readings of the cosmos. What was most intriguing during my investigation was imagining how the structure would have looked when filled with individuals dressed in color Rajasthani fabrics and the visual character that adds to a space.

This is where I could more fully develop my ethical or critical attitude towards the reconstruction process. Yes, it was exciting to imagine what things looked like or could look like, but it was even more exciting to bring some critical perspective to this activity.

The how, when and why (s) brought out the most interesting discussions to the table.

janhavi.savaliya.10@gmail.com Parsons School of Design/ The New School University Spring 2021

F SPACE

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Illustrations by Jeet Gajera

DOCUMENTATION- NAVGHAN KUVO, JUNAGA As a part of Louis I. Kahn Trophy, NASA | Batch 2008, 2009, 2010 and 2011

Indian cosmology has perceived water as a purifying and regenerative element that is a very essential part of prayer and consecration. The sacredness of water has been acknowledged throughout the subcontinent by extraordinary and monumental architecture that displays the acme of engineering and architectural achievements.

Man has done wonders with whatever he had and tracing back to that time it may have surely begun as learning. Significantly the concept of step wells remains the same throughout but the immediate structure has taken varied forms with every site. Water being a vital element for life and its adjoining architecture is an opportunity to study. Navghan Kuvo at Junagadh has gone through many battles, thousands have fed over it in need and this magnificent architectural structure still balances a lot; Having an enclosure in an open area, with a water body adjacent to it that would promote activities and the drama of steps which covers greater depths when transverse. An approach of considering nature in the structure is an overwhelming idea. It teaches sensitivity to thousands of people even centuries. The methods of water trenching at the apex and the organization of spaces as they comes are a surprise. Considering all these parameters, this stepwell is a perfect example of water and architecture, the two autonomous words that relate to us undoubtedly.

ADH

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FORMER FELLOWS Title: Carving Identity-An Institution for People

Reinvigorating the culture of Dhrangadhra through its Built Enviornment Manasvi Samani | Batch 2015

Manasvi Samani

“What could be that thewas appropriate built environment incould a scenario that addresses the geographical The main question addressed in this Thesis was: "What be the appropriate built environment in current location of a particular place, its climate, necessity and its socio-cultural aspects?”

It was then scenario which addresses the geographical location of the place, its climate, its need, its socio-cultural aspects?" demonstrated by designing a Public Institution thehistoric historic town of Dhrangadhra(land of stone), This was demonstrated by designing an Public Institutionfor for the town - Dhrangadhra.

The climate of this region as a part of undergraduate thesis.

The landscape here is barren and monochrome , the climate being is Hot and Dry with minimum rainfall. Hence, the landscape of the place is barren and monochrome due to less vegetation, hot ans dry due which there is less vegetation.

Tolayout avoid heat, specific spatial layout and stone land and dry to area.

To avoid extreme heat, certain spatial andextreme architectural elements are used in the Institution architectural elements of passive cooling are used in the Institution along with few derivatives from and few derivatives from the Old Town are used. They are: Small courts between each spaces, Corridors on the South the Old Town.

These for were small light courts between corridors on the screens West side, Jali screens the partial to come in and each for thespaces, ventilation of the space, WindSouth catcherWest, towersJali to naturally for partial light and ventilation of the space as well as wind catcher towers to naturally ventilate ventilate the spaces, use of Sand stone as the infill material to act as a Thermal Insulation for the spaces, providing more the spaces.

Sand as a material naturally insulates the spaces andThrough through institute, shaded spaces in thestone Institution and building with the natural slope becomes essential. this this Institution, an we demonstrate building in current times by retaining the essence of town. example is set for the kind of Architecture that is required in the current times by keeping the essence of the town in it.

Illustration explaining "What is Identity of the place?

What are the factors affecting it?"

Contextual Isometric View

Section AA' View of Market

Section BB'

View of Central Courtyard

View of Entrance Court

Plan at 9.0 Mt

View of Exhibition Bridge from Balcony

QUEST FOR SENSIBLE ‘WATER-EDGE RESPONSE’ Hakimuddin Bharmal

The impending emergence of riverfront projects raises a plethora of concerns, especially when there are upcoming projects in our own Aji river, therefore, this leads to the question of relevance and the need to understand waterfront development in its entirety.

Water is essential to all life and has remained the cradle of life and civilization for mankind since its inception. The religious significance of the water is physically manifested in Ghats (stepped– flat landings) that form the vital ‘Land and Water Interface’. Besides serving as a site for religious bathing and cremation, the Ghats are also tied to people’s livelihoods and are an inseparable part of their daily lives.

The constantly increasing urbanization along with adversely affecting multipliers like highly polluting industrialization and severely dense population has already blown a ‘Death Siren’ of such an essential element of ecosystem and humanities.

Several studies done by the central and state governments, many individual scholars and researchers have revealed the fact that most of water-bodies and watercourses are severely dilapidated and many are even in extremely deteriorated condition due to fatal aspects like pollution and contamination.

The scenario of other water bodies and watercourses is more or less same in almost all remaining urban areas due to existence of the same root causes irrespective of whether its Sea or River, Lake or Reservoir, Water Spring or Waterfall and whether its Beach or Riverbank, Ghat or Waterfront.

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In the quest for finding sensible response to questioned ‘Water-Edge’, keeping ‘Ecology and Development’ hand in hand; one must understand following determinants which will decide the fate of question:

• Present Policy for ‘Water-Edge Development’ and its approach.

• Assessment of governing factors, parameters and stakeholders through thorough analysis.

Notion of ‘Water and Water-body as a Natural resource and national property’ and as a ‘Holy element of mankind’.

• Genesis behind the present condition of ‘Water-Edge as city’s litter bin, sewer disposal point and illegal activities hub’.

• Genesis behind the present condition of ‘Water-Edge’ as encroachment and slum development, unhygienic and squatter habitation, Socio-cultural depravedness and environmental degradation.

• Potentials of ‘Water-Edge Development as the city’s spine for Infrastructure, transportation and communication’.

• Potentials of Water-Edge Development as the city’s hub for leisure, recreation, civic and community gathering, art-craft-folk-music and literature promotion and exchange.

• Potentials of Water-Edge Development as an inclusive and integrated development approach, sensitive and systematic planning, land-use appreciation and appropriateness, business exploration and promotion, and habitation expansion.

Adaptive Traditions of the Eastern Waterfront of Mumbai, India Zixin (Sing) Student ASLA

Chen,

University of Toronto, John H. Daniels Faculty of Architecture, Landscape, and Design

PEOPLE’S PLACE | OTLA & PLATFORMS OF GORESHWAR RIV Kanishk Suthar

VER FRONT, RAJASTHAN INDIA

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The brief for this project largely emerges from the historical and sociocultural context of the Vagad region in southern Rajasthan. Goreshwar Mahadev (Shiva temple), a temple precinct on the banks of Moran river, has been one of the major centers of faith for the locals. The main Shiva temple dates back to the 12th century. A unique characteristic of this precinct is the ‘Shivling’ (the most popular symbol associated with the worship of lord shiva in hinduism) situated on the Moran river bed, 6.5 meters below the road level. Today on Mondays, more than 2000 devotees from the surrounding villages come to the river bed to offer prayers.

The need for the project was raised with a concern to bring the devotees safely to the river bed. The design revolves around basic ideas of creating an experiential journey from the upper level to the river bed, with pause points to encourage social and environmental interactions. The space provides a continuity between the past and present, with the use of local materials and traditional ideas of building and design.

The process of construction begins with cleaning and silting of the river.

It is found that the Shivling sat on a huge river bed rock which must not be damaged to maintain the authenticity and integrity of the Shivling.

A concrete base slab constructed around the Shivling, is made heavy, acting as a foundation to sustain the frequent flooding of the river. A semi-circular, wide platform is built over a 9” thick, low height, concrete protection wall, allowing the devotees to walk and perform the rites safely while having an unobstructed view of the river. The construction of a submersible causeway at the lower level, and holes at the bottom of the protection wall, help maintain the natural flow of the river, respecting the ecology inside the river.

The transition from the land to water is covered with steps, which is an important part of Indian traditional architecture, as seen in the step wells of Rajasthan and Gujarat or on the ghats of Banaras. The interaction between people and the water due to the changing water levels gives numerous opportunities of creating various pause points on the steps through platforms and ‘otlas’ round trees or creating patterns in steps that become activity generators.

The socio-cultural strategy for the project was the involvement of traditional craftsmen and techniques which helped resolve fundamental issues of cost (funding from the Goreshwar Vikas Trust), material procurement and project duration, and also brought in a sense of belonging among the locals. The design is an attempt at making a “place’’ that is inclusive and respects the history as well as aspirations of the end users.

(Text-Pankti Pandya)

Project Name: Otla & Platforms of Goreshwar RiverFront, Rajasthan Office Name: Impasto Building Workshop Office Website: www.impasto.org.in Firm Location: Dungarpur + Ahmedabad, India Completion Year: 2019 Gross Built Area : 3000 m2 Project location: Goreshwar Mahadev Mandir, Village- Dibra Bada, TehsilSagwara, District- Dungarpur , StateRajasthan (India) Design Team: Manohar Suthar, Jerome Justin, Ankush Gupta, Raasul Rajeev, Kanishka Suthar Project Engineer: Manohar Suthar Project Supervisor: Devsankar Suthar Construction Team: Rupabhai meena, Ishwarbhai meena, Pratik Suthar, Mukeshbhai, Lalji Kaka, Shailesh Joshi, Kishor Joshi & Girish Shrimali Photo Credits: impasto building workshop Contact email: kanishkasuthar@gmail.com & impasto.kanishka@gmail.com

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THOUGHT-SCAPE Siddharth Korat

कभी न मान्गा कु छ, हे मानवी फिर भी इतना तुच्छ; इतना सहा सब कु छ, फिर भी न दे पाया तु मुजे कु छ; अब तो अपनी आत्मा से पुछ, थोड़ी सी चला ले अपनी सुज; न चाहिये ज्यादा मुजे कु छ, अब तो अपना ले तुच्छ ।। "वेदना"

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