TRACE. Issue 1, Origin

Awards ‘21

President’s

Animation Love Death Robots Gaurav Wakankar

Graphic by Alekya gudaboina

Magazine Team

Managing

Editor

Editor-in-Chief

Editorial Team

Afridi Mushtaq

Anisha Labisetty

Alugam Vaishali

Ponnapati Aravind Reddy

Asma Tarannum

Gummalla Chanikya

Gowrav Maddikera

Anchula Hima Samhitha

Tingrikar Rakshita

Revanthi Katikireddy

Chintalapati Sai Sreeja

Sayuri Bhanap

E. Shashi Karthik Reddy

Guru Sravan Kumar

Komanduri Sree Vahini

Yashwanth Sai Kommu

Mr. Kartik Mahon

V. V Kusum Priya

Visual Arts

Karthik Sai Boddukuru

Keerthana Nagula

Komal Renuka

Anchula Hima Samhitha

Rahul Potharlanka

Rishab Mitta

M. Sai Narsimha Santosh

Madhavi Sharma

Polas Shriya

Sree Krishna Pillarisetty

Photography Team

Anuraag Bairam

Santosh Jidugu

Kalyana Seetharam Vemuri

Yelakonda Sai Komal

Sukka Praneeth Sagar

Venkat R. Varshith Reddy

Suragoni Arun

M. Pavan Kumar

Social Media

Afifah Sultana

Keerthana Nagula

Komal Renuka

E. Shashi Karthik Reddy

Taaha Muzaffar Imam

Department Coordinators

Department

Animation

Applied Arts

Architecture

Interior Design

DTDP

FSP

Painting Photography Planning

Sculpture

Special Thanks to

Student Advisor Director of Evaluation

Faculty Lead

V.M.K. Praveen Kumar Gorty

Satyanarayan Ambati

Kartik Mahon

Farah Wahajuddin

Katta Vineeth Kumar

Chaitanya Jamalpur

Anand Gadapa

Harish Kumar Naredla

Yarramsetty Rithvik

S. Kantha Reddy

Student Lead

Komal Renuka

Madhari Sai Narsimha

Afridi Mushtaq

Asra Fatima Naqvi

Sree Krishna Pillarisetty

Syed Uzair Quadri

Anisha Labisetty, Manjari Goteti

Anuraag Bairam, Kalyana S. Vemuri

Nikhitha Kethavath

Sachitanand Sharma

B. Rama Krishnaiah

Dr. S. Kumar

A heartfelt thank you to all the Head of Departments of JNAFAU for their exceptional contributions towards the growth and success of the magazine.

Front Cover page by P. Shriya, third semester, B. Architecture.

Daryani Rao Vice-chancellor

FROM THE VICE CHANCELLOR

I am excited to see the first edition of ‘trace’ coming out. Students and their mentor faculty members have been toiling over it for a long time now. It is the first University wide publication, and hopefully will be a positive step in reducing the isolation between various departments and the two campus colleges, by allowing each other a glimpse of their works. Although we had opened up departments academically by introducing a Choice Based syllabus, Covid put a brake on that progress.

Going through the contents of the magazine, I was happy to note the students’ interest in the past: the history of the institution which is long and illustrious, as well as the people who worked to establish it. At the same time I find there are articles on the newly established departments.

I congratulate and commend both the student team which worked on it, and also the faculty mentors, especially Ar. Karthik Mahon, who deserves a special word of thanks. He has put in several days and weeks of work to get the magazine to get a final shape. I sincerely hope that this momentum will keep going and that the JNAFAU journal will become a platform for expressing and exchanging thoughts and ideas.

FROM THE MANAGING EDITOR

I'm truly proud of our awesome students who stepped up and made this magazine happen. Just imagine, all these talented Art and Design students gathering in one place, showcasing their incredible skills and creating pure magic! It's been an absolute joy to witness students from every department at JNAFAU uniting to build this platform. Together, been crafted a platform that opens up a whole new world for art and design exploration. I couldn't be happier to see the collaboration and the fantastic results that were achieved.

Bringing an idea to life can be a wild ride, full of thrilling moments and let me tell you, and TRACE have been one such. Our university has always been buzzing with art and design fanatics, and I beleive this has been taken for the advantage to the fullest by the team, and now all of us are able to experience it.

Kartik Mahon Managing Editor Trace Magazine

I hope we all continue together in taking this further, building an awesome tradition of teamwork and camaraderie in the campus.

Prof. Dr. N. Kavita

Ch. Srinivas

FROM THE SPA PRINCIPAL

It brings me immense joy and happiness to see the first edition of our University student magazine TRACE finally coming out. Trace is an attempt to bridge the gap and establish inter-departmental interactions. I feel proud of our students who have taken the initiative to bring this out. The very thought of students of Art and Design coming together under one roof to celebrate their talents and can bring out wonders.

It has been a great pleasure to see students of all the departments of JNAFAU joining hands to contribute in creating this platform, which by all means inventing a portal that provides access to an environment towards art and design is explored in togetherness.

I encourage all of our students to take advantage of this magazine and to contribute their ideas and thoughts to make it a success. My congratulations to the editorial team and look forward for seeing many editions of for our student magazine.

FROM THE CFA PRINCIPAL

As I had a glance at the very first magazine, aptly titled 'TRACE' by the students of JNAFAU, I felt very happy and proud. I truly appreciate the efforts of the students and the editorial team who have put in their hard work and expertise in designing and publishing this unique magazine. I am delighted to see various articles on collecting the history of the College's establishment from 1940s till now, along with memorable photos and information.

T. Gangadhar

Apart from covering artists studios and their journeys as practicing professionals, the magazine also explores various Departments of College of Fine Arts such as Applied Arts, Animation, Photography, Painting and Design. As Principal of College of Fine Arts, I sincerely hope that this magazine will bridge gaps between the Departments and provide a common platform for exchange of ideas and fruitful interaction.

I congratulate the editorial team in this splendid endeavor and hope that they continue bringing out regular issues on the diverse creative aspects and specializations offered only in few institutions like JNAFAU in Hyderabad.

Principal College of Fine Arts

Principal School of Planning and Architecture

Here's to inspiration you'll find in these pages!

V. V. Kusum Priya Editor

LETTER FROM THE EDITOR

The process of bringing an idea to fruition can be both exciting and challenging. In the case of "TRACE," the end result serves as a testament to the hard work and dedication of many individuals.

As a space centered on art and design enthusiasts, our university has a rich tradition of collaboration and interaction. I was inspired by the stories of my seniors, who enjoyed working together on various projects, from hosting combined festivals to organizing college fests and sports events. However, I noticed a lack of interaction and learning between the two colleges, which prompted me to act.

I shared my concerns with my principal and faculties, and with their support, I embarked on the journey of initiating this student magazine. This experience will always hold a special place in my heart, not only as a compilation of articles and interviews, but also as a beautiful collection of thoughts and voices. The memories I made and friendships I built along the way will continue to inspire me as I strive to create more meaningful projects in the future.

A Recap to 1940

The ‘Central School of Arts and Crafts’ was one of the premier Indian institutions of art education in the erstwhile Nizams’ state of Hyderabad. It was established on December 3, 1940, at one of its prime locations - King Koti area - by some of India's elite art enthusiasts of the time. This from where our now-standing JNAFAU grew into the tree that it is today.

In contrast to the situation in most of India during the 1930s and 1940s, Hyderabad, under the shade of the Nizam’s crown, developed an interest in preserving and promoting its artistic heritage from ancient monuments to contemporary artisanal skills by practicing regional Deccani art, methodology and aesthetics, which also happened to gain friendly support from the British Raj with due respect to the Nizams in terms of political as well as administrative benefits, which formed a comfortable base for sowing the seed for its growth.

Before the formation of linguistic states in 1956, the Ajanta caves were in the Nizam’s Hyderabad-Deccan State. It was in 1925 (when India was active in the Quit India movement against British rule and working for national unity and also involved in efforts of reviving Indian arts and artistic activity), much before taking his responsibilities as Prime Minister for the Nizam, Sir Muhammad Akbar Nazar Ali Hydari, in his Punjab University convocation speech, proposed the establishment of an art school near the ancient Deccan caves of Ajanta so that students could study and learn from its sculptures and paintings. However, the idea became a reality only 15 years later.

Finally, the institute was established under the name ‘MARKAZ-E- MADARASA FANUNE LATHEFA.’ It also bore the names of ‘Central School of Arts and Crafts’ and ‘Nizam’s School of Arts and Crafts’, in 1940, under the personal efforts of a known artist who was acclaimed for recreating Ajanta's original art at the time, Khan Bahadur Syed Ahmed in close association with the Deuskars (a prominent family in the field of art) and others related to the field of art in the region

References used to write the article

1. Insights from senior artists Kavita Deuskar and Anand Gadapa.

2. University Website- https:// www.jnafau.ac.in/history/

3. Artikle by- Dr. Nirmala Biluka, “Out of the Box” edition 01- In-house newsletter, Dept. of Painting, JNAFAU

4. Anand Gadapa- “Art at Telangana” (2014)

5. “Becoming a Deccani artist: Tracing the history of Hyderabad’s School of Art and Crafts” an article by Dr Santhosh Sakhinala, The News Minute- Deccan series.

Painting Dept. Diploma batch 1961 - 1965 students

Yeaster Years of Department of Painting

Unsurprisingly, the Ajanta caves not only strongly played their role in shaping the syllabus and planning the pedagogical activities of the school but also were one of the key considerations to be establishing the school itself by an artist inspired by Indian art K.B. Syed Ahmed, himself becoming the first principal of the school.

Many activities such as pottery and ceramics, weaving, silver-work, filigree, cane-work, furniture design, wood carving, commercial art, and sculpting along with a British approved curriculum for drawing and portrait painting (and the list goes on) were begun to be taught initially. The curriculum was structured in such a way that students referred to and copied from the ancient and medieval paintings, sculptures, and architectural motifs of the Deccan, to complement their classes in the history of art.

One of the several things that these exercises offered to the students was a way to visualize the myths, stories, and glories of the region’s past in their works. In the year 1951 the name of the institute was changed to ‘Government College of Arts and Crafts’ after Hyderabad state’s annexation in 1948. This led to another change, majorly manifested by Sukumar Deuskar (being one of the main guardians of the school’s administration at the time), in the course curriculum of art education where Western Art techniques were borrowed in inspiration from the works of alumni of Sir J.J School of Arts, and were introduced in addition to the Santiniketan style of work with an appreciation towards regional art. This change made the students go through an “Eclectic” form of Art education, allowing them to be more aware of artistry around the world given the situation of Deccan region inside new independent India.

It was 1952 by the time Architecture was added to the courses’ list of the college, under the guidance of Sukumar Deuskar and Salamat Ali Khan (the 3rd principal of the school and an architect by profession). This led to the change of the name of the institution to ‘School of Arts and Architecture’.

It is from here where the school started nurturing Architecture alongside Fine Arts allowing it to become a very profound space for many inordinate creative collaborations. Later, in 1963, the establishment began to be shifted from the King Koti location to the Mahaveer Marg- Masab Tank area, which is now considered to be the heart of Hyderabad city, and the administration was successful in establishing itself by 1989 with both CFA and SPA blocks ready. They were merged with Jawaharlal Nehru Technological University in the year 1972, becoming a constituent college of JNTU, only to be parted to become Jawaharlal Nehru Architecture and Fine Arts University in 2008 bringing all the now existing 10 departments of varied creative education into the University’s offerings.

The pedagogical ecology of the school can be discerned from the above example of art that its first group of students produced, printed in black and white in the bulletin Hyderabad

Information in March 1944 (preserved in the Telangana State Archives) Hyderabad).

Anonymous student, The Old Goshamahal Houz, Ladies of the royal family in pleasure boats

Sir Muhammad Akbar Nazar Ali Hydari

Kavita Deuskar was raised in a milieu where art was valued and discussed, which laid the groundwork for her own illustrious career as an artist. Her grandfather Ram Krishna Waman Deuskar, studied at JJ School of Arts and got acquainted with Salar Jung III and was invited to paint for the Nizams. He later on went on to be the first curator of Salar Jung Museum. Her father Sukumar Deuskar, attended Santiniketan and was a brilliant artist in his time, who is also one of the founding members of ‘MARKAZ - E - MADARASA FANUNE LATHEFA’. Both Sukumar Deuskar and R.K. Waman Deuskar went on to support and practice art in terms of regionality besides personally influenced by Western Art methodology, being students of Art from Paris during their early years of artistic pursuits.

A Tale of Memories

- Prof. Kavita Deuskar Alumna- Diploma Batch 1961 - 1965 Former HOD- Painting Dept.

Senior artist Kavita Deuskar is one of our esteemed former heads of the Department of Painting and an alumna of our University. Numerous honours have been bestowed upon her, including the A.P. Lalit Kala Academy Award, which she received in 1972. Her works are on display at several galleries in India, including the National Gallery of Modern Art, New Delhi, and the Salar Jung Museum, Hyderabad.

“ To rise to the occasion, I began my career as a painter when I was 13 years old (1960’s) as a student at the College of Arts and Crafts, which is Jawaharlal Nehru Architecture and Fine Arts University today. We, as students back then, had a great deal of acquiring knowledge, learning from some of the greatest artists of our time and our professors, where techniques were taught and learnt in correlation with real practice, inducing a sense of wisdom indeed.

College was quite involved during my time as we had many shared creative instances between students and teachers. Sports were one of those mediums where both the staff and students used to have an opportunity to take part in sports together as a team. In collaborative efforts of both students and the faculty, many fun events during the day and a bonfire and gatherings in the evening used to mark our celebration commemorating our School's founding on every 3rd of December, which not just filled us with fun spirits but also strengthened our human bonds within the academic space where students of Art and Architecture thrived in togetherness, against all odds, of being in strong and healthy competition in all domains every time.

Concerts, Rallies, Art Fairs and Gallery hostings and Student Union elections were vibrant events. My time as the Deputy President of Student Union was a joy to me personally. Most important was the creative time spent with my peers and professors… the glory and joy earned is never to be forgotten.

May the creative brilliance of the school shine bright and may every student of ours be blessed with bold spirits and synergic experiences.

Kavita Deuskar during her time as faculty in the Department of Painting along with her colleagues

Art, Artist & Techniques

I was born and brought up in Hyderabad and spent most of my childhood here. I once saved up my pocket money and ended up buying a bottle of poster colors and that's where my journey of painting began. In the 6th grade, I went to my first competition. From 7th to 10th, any competition that I participated in, people said- “Rohit is here, he is gonna win the show!”. I have done my internship in Jaisim Fountainhead, Bangalore and there this architect used to work with a lot of environmental and ecological materials that could build sustainable houses. And I remember this one senior, called Siraj; I had done an art consultation for him for the interiors of the Cognizant office. It was almost a 5 lakh sq ft area, and the timeline was 3 months, so working with this corporate industry ended up being a very haphazard piece of work! I felt that interiors were not interesting for me and I went back to Bangalore where I applied for all the jobs under landscape architects. I ended up working with this firm called Design Milieu, which made me think the landscape is more like a painting, only with writing down names of trees, drawing nice sketches and a sketch-up model. Design Milieu was a landscape design firm, but we used to look like a lawsuit firm!

Architecture deals with terms of material usage, necessary spaces, auxiliary spaces. A lot of things can be added, you can build a CRS wall but doing something without any environmental damage and making it work is a little painful in the initial stages for me, but once I understood what I was doing, I fell in love with the subject. I ended up handling 7 to 8 projects in that firm and then I felt that the landscape would beautify over time. Every context has been different. I recollect this one situation where I was working on a project in the airport, where the requirements were that they didn’t want to have any plant above 3 feet or 4 feet of height due to the flying zone. Every area that we have dealt with has a region wise context. It’s been a fun process.

Featuring Rohit Mirdoddi, a Multidisciplinary Artist and a Landscape Architect based in Hyderabad

Apart from landscape design, I have been working on printmaking. My printmaking journey started somewhere around 2016 in an anatomy drawing workshop where I met a friend who had introduced me to wood carving, printmaking. I've been to a lot of printmaking workshops. I was exposed to many techniques like lithography, aqua, intaglio, etc. I have been experimenting with various mediums and techniques. The medium printmaking has more reach and you can make multiple copies. This medium is in such a way that you know you have to have precision and time. Printmaking is somewhere that when you dip your plate in an acid for three seconds or even three minutes, the tonal value and rational ranges are very different and it’s quite surprising at every moment that you take a print. You keep experimenting on the plate itself until you achieve perfection.

My subject was the very interesting Sara tribes from Africa where they have these long lips. They wear these long elongated bands in the neck, so you find a few of those details in my work. A couple of anthropological readings and stories from there I’ve narrated in my stories.

I have been painting since my school days and architecture was an option. Art has always been parallelly running. I made friends from different arts colleges and different people who have explored different mediums from different universities, so I’ve been exploring what they've been teaching and learning. Then I experiment in my own ways. If I were considering masters, it would be landscape dressing or landscape architecture because I’d been exploring most of the projects which are almost like an assignment for a master’s student, but I have a practical approach right now.

Images sourced from @rohitassociates (Instagram)

Exploring the Self

Interview by Anisha Labisetty, Manjari Goteti.

Being born in an encouraging family, Dr. Priti Samyuktha was exposed to various platforms and has been multitasking ever since. Her proud achievement includes the well known Fulbright Nehru Postdoctoral fellowship. "I took up teaching because a teacher can inspire a student in many ways", she says!

What best describes your childhood? How did it shape you into the person you are today?

I was born here in Hyderabad, but I’m Keralite. My father was a professor, my sisters and I grew up under parents who are very inclined towards art. During my childhood, I was not into drawing, but I liked reading, looking at artists, and their images. Picasso’s cubist work, ‘The Three Musicians’, made me feel something strange about the work, because the work was not beautiful to me, it didn’t occur to me that art was all about different “isms” then and it was different when I looked at that work.

How did art, specifically painting, enter your life while being exposed to and inspired by multiple branches? What was the point of integrating all of this into painting?

I was in 9th grade I remember attending a competition where a subject was given to us to draw a landscape and I ended up painting a swan purple for which I got a lot of criticism, but I wondered why not a swan purple when nature has swans white, I created something else getting inspired from nature. That’s when I started looking at things differently.

As an artist, can you talk about the difficulties growing up in society?

I have been in this profession for almost 23 to 25 years and I still remember those terrible times. It was traumatic for me when people asked. In fact, they still ask, "What next?", portraying it as an easy task of drawing something and displaying it as art. It is very difficult even for us today to tell people that, "Look, this is a serious profession."

What made you choose to teach as a part of your profession?

I've always wanted to be a teacher. I come from a convent background. I've seen teachers inspire me since I was a child, so I thought a teacher should inspire a student and decided to become one.

Was there a point of recognition for you?

I’ve had several exhibitions and art camps in various places like Indore, Jaipur, Goa, Bangladesh, U.S, Japan, China, Kerala. I’ve not had a major point of recognition because I’ve been very slow and consistent. When I got the Hyderabad Art Society Award twice, in 2003 and 2009, that’s when I started realizing that awards may not be important for a person who is growing, but act as an encouragement for any field.

So, what was your inspiration or how were you influenced?

I didn't directly get influenced, but my teacher once hinted that my works looked like Paul Gauguin's works. So, I went back to the library to see Paul Gauguin's work in detail, and then I felt the similarities. You might have someone who is like you, somewhere else! I started looking at his work, but I never looked at his drawing style, painting style, or compositions. I started looking at the way he visually narrated his stories. That is somewhere where I thought probably I could pick on from. But I never borrowed anything.

The Updated Ajanta Women

So, adding on to the previous question, was it a positive output for you, or did you feel any kind of dissatisfaction with the work? Did you have a pressure point?

You reach your saturation point when you are at a place of questioning yourself in the progress, this is where I advice on starting again or by adding something new. Dr. Laxma Goud, who was my teacher during my Master's, said that "You're doing a lot of portraits of people you think are interesting. What about yourself? You wake up in the morning, you're looking at your face. You know yourself well; you know yourself better than other people, then, you know your inside self too! So, why don't you try this?" That was the time when I had this "yes! I must do my own portraiture!" So, when Laxma sir told me that you're looking at your face every day, look at your features. That's when I started portraits. And then the language started evolving. When I started thinking, started reading, my travel experiences, all these things got into my artwork.

As you mentioned, social issues usually influence. Have you ever had the idea of becoming an influencer with art as a power on these issues?

As an artist, my inspiration stems from my life. I would look at it as an autobiography. Those issues have not influenced me as much to put them in my work right now because I feel like there is a lot to tell from my life. I'm not done with my childhood yet. But there are little hints about the elements I include in my work, like the monkeys. My painting, 'www. GossipingMonkeys.com', has monkeys gossiping, and the woman has long hair which I call "The Jungle'. You know we are losing a lot of hair these days. The painting has monkeys grooming themselves and gossiping. There are butterflies. This is to reflect the society's culture. Here, the monkeys are portrayed as humans. The idea of me using monkeys is for two reasons. One is, I come from a background with vast wilderness with pigeons, bugs, flies. We had monkeys used as experiments coming from the National Institute of Nutrition. Simultaneously, I have been using monkeys as symbols for this kind of culture where we have people interested in other people's lives.

Do you think you’re successful?

Success has a different definition for different people, just like love. If you're a painter and you keep your artwork going, with a fire in the belly. that is success.

You did a PhD right. What was your main field of research?

Well, since a long time I have been interested in Kalamkari and Batik, so thought I should work with both because they have similar processes. The title of my thesis was "A comparative study of Batik and Kalamkari Paintings", with reference to Telangana and Andhra Pradesh. It took 6 years for me to do the field work.

Dr. Preeti Samyuktha- An interview

Could you please talk about this work displayed here? (title of the workUpdated Ajanta Woman)

Most of my works are self-portraits. I used the Ajanta women here. The first founder of this college had a liking towards Ajanta and Ellora, that's how we have a lot of Ajanta works displayed in the college. My academics have introduced me to Ajanta, and I love the figures because of its voluptuousness. I included a mobile phone here because I wanted to add a contemporary element and my future projects are to include the Ajanta women without eliminating the style, but trying to narrate how Ajanta women are in todays times. Ajanta women are known for their beauty and for their figure. This is a little different from my previous works because I have my self-portrait in a relaxed mood, wheareas other potraits are just smiling or straight faced and have designs.

Has there ever been a project which was widely successful?

Personally, for me as an artist, my works sell like any other artist but there was one major happiness that I would like to share is that one of my works, a very huge work of the size 8 feet x 12 feet is in the Rajiv Gandhi International Airport. That was one of the major works I sold. I have had shows, as well as curated art. I have curated in Bangladesh, Sri Lanka, U.S, etc.

You mentioned you will be going to the US through a Fulbright scholarship interview. Can you please elaborate on the scholarship?

There are Fulbright Nehru and Fulbright Kalam. It is a scholarship for people who finished their master's degree and for those who want to do research. There are different kinds of fellowships in this program, with varying duration of time ranging from 1 month to 2 years. You must share your proposal with the committee within a set deadline and if they like your proposal, you will be put through a challenging process. Fulbright offers scholarships in almost every known field. In fine arts, I proposed to study women of the South Gulf region doing quilt art and an investigation into their contribution to the 21'st century art scene.

Dr. Preeti Samyuktha- An interview

Industry Of Facilities And Service Planning

Improving the way we live!

If you’re interested in creating safe, healthy and sustainable buildings, Facilities & Services Planning could be for you. Facilities & Services Planning is a professional engineering discipline that aims to create a safe and comfortable indoor environment while reducing a building’s environmental effect.

If you’re interested in creating safe, healthy and sustainable buildings, Facilities & Services Planning could be for you. Facilities & Services Planning is a professional engineering discipline that aims to create a safe and comfortable indoor environment while reducing a building’s environmental effect.

Engineers in Facilities & Services Planning are in charge of the design, installation, operation, and monitoring of technical services in buildings (including Civil Engineering, mechanical, electrical, also known as MEP or HVAC), as well as fire safety and security, in order to ensure a safe, comfortable, and environmentally friendly operation. Other building specialists, such as architects, structural engineers, and quantity surveyors, collaborate closely with Facilities & Services Planning engineers. Facilities & Services Planning engineers can influence building architectural design, particularly facades, in terms of energy efficiency and indoor environment, and can integrate local energy generation (e.g. facade integrated photovoltaic) into the design or energy facilities at a community level (e.g. district heating).

Engineers that specialize in Facilities & Services Planning play a crucial role in the design and operation of energy-efficient structures (including green buildings, passive houses, Plus-houses, and Zero-energy buildings). Facilities & Services engineers play a key part in the transition to a low-carbon society, which helps to prevent global warming. Buildings account for nearly a third of all carbon emissions and over half of worldwide electricity demand. Materials, energy, weather, and the environment all have an impact on building and restoration projects, according to Facilities & Services

Planning. The focus is on maintaining healthy, pleasant, and energy-efficient structures.

People who work in Facilities & Services Planning look at the building as a system of parts, and consider how these parts work together in different conditions. These parts include things like:

• The structure itself

• Construction materials

• Electrical, water, ventilation, heating and cooling systems.

Alternative titles that are given are Architectural Engineering, Technical Building Services, Building Engineering, Building Science Engineering or Building Technology Services.

Course Details

The curriculum is structured for four years and is divided into eight semesters. The curriculum includes field visits and internship in professional organization.

Career Opportunities

Facilities & Services Planning is a rapidly emerging field and new jobs are expected to be created as the field continues to evolve. Students can expect to work a broad variety of positions depending on their own personal interests, and have options within government (municipal, provincial or federal) or in the private sector.

Based on industry research, potential job titles include:

Architectural Project Managers

Green Building Designer/Consultant

HVAC Engineer

Building Modelling

Entrepreneurs

Energy Analyst

Facilities & Services engineers, Architects, clients, contractors, and other key stakeholders participating in the project use computational tools to simulate software throughout design to facilitate communication. It makes the entire system easier to comprehend and the decision-making process more efficient.

• Building performance based on information provided by the designer of the building envelope

• Solar heat

• Radiation distribution

• Air flow, and other physical phenomena within the building

• Models can be used to estimate energy usage throughout the building’s lifetime

• Lighting system

• Mechanical system

• Models can be used to predict energy consumption over the building’s lifetime.

M.Tech (Facilities & Services Planning)

The Master Degree course prepares them for admission in further research degrees like Ph.D. The program’s graduates are well-prepared to pursue careers in professional practices, consulting firms, industry, research, development organizations, and academic institutions. After passing the course, you’ll be able to learn new things, as the job involves creativity and alternative thinking to come up with fresh solutions to work-related challenges.

Project Associate/Specialist

Selection procedure:

Intermediate (M.P.C) / 10+2 with Mathematics, Physics, Chemistry/equivalent qualification.

The students have to qualify in EAMCET conducted by the Government of Telangana & Andhra Pradesh.

Making Career Connections

Making connections with individuals and groups during your degree can help your learn more about career and networking opportunities.

Along with strong industry connections, the Department of Facilities & Services Planning has partnerships with the ISHRAE- Indian Society for Heating and Refrigerating and Air -Conditioning Engineers and ASHRAE- American Society for Heating and Refrigerating and Air -Conditioning Engineers, IPA-Indian Plumbing Association who work either in the construction industry or for business organisations who provide services to the construction industry.

All of these associations have student membership and regular networking events and provide the opportunity to network and explore career possibilities and specialist areas. The Alumni as Mentors programme for final year students also helps enhance your connections and employability while studying.

For more details contact Divya Vora, HoD of FSP.

In Conversation with Chippa Sudhakar

What inspired you to pursue a career in the arts? How did you make your way into the world of professional art and how is it going now?

As a child, I had a typical interest in the arts, which was noticed by our school’s art teacher, who'd seen potential in me. I recall Pranav Rao guru being present with me throughout the counseling and interview sessions and introducing me to Kavitha Devaskar mam, the PPC at the time. That was the catalyst for my entry into the art world, but it didn't hit me until my fourth year. At the time, painting was a 5-year course. Like any other final year student, I began to experience anxiety. What am I going to do with my life now? In search of answers, I headed to the library.

I quickly understood that staying in Hyderabad would hold me back from growing, so I moved to Baroda. The post-graduate diploma in printmaking was an amazing experience. My father's untimely death led me back to my hometown. I tried to carry on with my father's farming business, but quickly realized it wasn't for me.

This is the beginning of what we are seeing now, my life's work, Banyan Hearts studio.

Interview by Sachitanand Sharma and Guru Sravan Kumar. Chippa Sudhakar graduated with a diploma in Fine Arts from the J.N.T. U in Hyderabad and finished his Post Diploma in graphics from the M. S. University, Baroda in 1990.

He was bestowed the Bombay Art Society Award, 1993, the Karnataka Chitrakala Parishat Award, Bangalore, 1993, and the award of the Hyderabad Art Society in 1994.

What influenced your work and your style over time? How did you manage to manifest your thoughts and beliefs through art?

My life has been greatly influenced by my new circumstances. However, it inspired me to learn more about the world and all it has to offer. My go-to method has been to take it in and create art from it. As humans, we can extend our horizons by engaging with new individuals and the environment. This development can be seen in our thinking and in the art we try to make. My father was a farmer, so I suppose it's in my blood to be near nature. You can plainly see how the environment is the focus of my art, and how it addresses the challenges of the day. Through my work, I wish to express my views about the environment.

Describe your expertise with several mediums, as well as what you find to be the most versatile.

When it comes to mediums of expression, I don't have any favorites. I choose media solely on the basis of how well it conveys my concept. When we look back at the work I've done over my career, we can see that I've experimented with a variety of mediums. This demonstrates my desire to constantly try new things. I've never been one for staying in my comfort zone. Despite my background in printmaking, wood has been a frequent collaborator in many of my works. No other media compares to the versatility of wood. But I don't stick to one medium; I combine them, layer them, and utilize a variety of textures to convey varied emotions and meanings. So far, I've worked with terracotta, resin, metal (particularly zinc) feathers, flowers, and other materials.

From struggling artist to a professor to now running banyan heart studio, your practice has evolved through time. What led to the establishment of the residency program?

I always dreamt of a place amidst nature to work in, away from the city, peaceful and calm. Nature has always supported me and I cherish it. I feel it’s a god’s gift. It was a collapsed guesthouse now redesigned into a place for painting, printmaking, sculpture studios, and kitchen dining space for students or visitors coming here to stay and collaborate.

As I already mentioned about my travel molding my journey, this same norm was one of the reasons. My experience at studios abroad, where one studio is used by various artists coming in, pitching in ideas on the

same piece of art, but were run by communities, although here in India we survive in an unlikely context. I wanted to bring this idea of collaborative learning among students and artists where one teaches and learns at the same time–a give and take policy. Also, I always mentored my fellow students during my teaching stretch, and this thought of supporting and guiding them into their professional life now as an individual artist was what a push to start the residency.

Tell us about some of your favorite projects and why you like them so much. And lastly, a piece of advice you have for aspiring artists who want to make a career out of their passion?

My source of inspiration is nothing in particular but the little miracles of a person’s life. My personal favorite is “The Flying man". I worked on this piece for 3 years handpicking each feather I used; it was about this flight, one takes to sleep. It actually has a mechanism inside with a small light glowing to indicate the pulse that’s a human being’s indication of being alive.

The different textures and things going in to make this sculpture make it even special and different from other works. Also, the resin heads wherein I used varied materials inside for each of my thoughts, in one of those I put in mechanical vehicle gears showing how nowadays a human’s brain is constantly under work 24/7. My advice to young minds would be to just go for it. One should thrive for what one desires to be.

Residency Programs

What made you visit this studio and what are you getting to learn and experience here?

I wanted to learn to sculpt and make figures out of clay. That is the reason why I’m here. Rehaman and Shoaib anna are teaching me the basics of drawing and guiding me. I’ve been coming here every day for a few years and I love being here because of the environment and also because of my interest in art. Everybody here helps me figure out the mistakes and teaches me the process very well.

How well is this place and the program resonating with your interests and helping you build your career?

The exposure and mentor-ship from JNAFAU is one of the reasons I’m here at banyan heart studio. If I was working alone, there are chances I could miss certain things, different mediums and techniques to learn along the process, whereas here, working along with others getting to interact with them keeps up the spirit of this place and makes it magical. We absolutely enjoy this place since we get the freedom to work at whatever times we want to. I just wake up in the middle of the night to sit and scrap out clay blocks and start off with a new piece of sculpture. This place has a good collection of books and a space allocated to work on computers. It perfectly blends to make it a college experience at work.

So Saroj, (one of the residency program attendees), since when have you been working here in banyan heart studio and what makes it a special place for you?

I’ve been here since after graduation, learnt through a friend of mine about the residency program. I joined in and am currently working on woodcut printmaking technique along with other fellow mates. Collaborating and working on different methods is so much fun. At the start, soon after graduation, I couldn’t join, although I met sir here, and he was a very kind person who welcomed me wholeheartedly. He is very emphatic and supportive, asked about my financial problems at the start and got me on board. Now, seeing him work in the studio always lets in inspiration to work hard. The atmosphere is also so therapeutic, working amidst nature brings in positive vibes at a workplace.

Some of the reviews given by Residency Program students...

Outline on DTDP

~ K. Sree Vahini, Department of DTDP

DTG was the moniker given to DTDP when it originally began its voyage in 2008. (Digital methods and graphics) and the whole design of the curriculum took around two years, and it was revised in the most recent year, 2017, and it transformed as CHOICE BASED CRIDETS SYSTEM IN HIGHER EDUCATION.

The first HOD was Ch. Srinivas (2008-2009), followed by Srinivas Reddy (2009-2020), P.S.S.Naga Lakshmi (2020), finally S.Ravi Kiran (2021~).

It is a multidisciplinary course incorporating Design, Multimedia, GlS, and IT.

A solid foundation of multidisciplinary abilities in areas such as space design construction, environment, multimedia, geographic information systems, and information technology.

The curriculum is designed with opportunities to incorporate practical and experimental learning in order to comprehend and attain a high level of creative innovation and quality. This course focuses solely on software and techniques.

It is the department that supports and nurtures student and faculty innovation activities. Our degree program provides a blend of classroom theory, hand-on experiences, and cross-disciplinary research.

Core Courses, Professional Electives (PE), Open Electives (OE), and Ability Enhancement Compulsory Courses (AECC) are all part of the programme. AECC courses are value-based and/or skill-based, with the goal of delivering hands-on training, competences, skills, and so on.

As enrich learning experiences, student-centred strategies such as experiential learning, participatory learning, and problem-solving methodologies are applied.

DTDP believes in the use of student-centred techniques to increase student engagement in participatory learning and problem solving. In general, DTDP students have four possibilities for their final project, however they are not exhaustive. Geographical Information Systems (GIS), Information Technology (IT), Multimedia, and DESIGN are among them.

Students are encouraged to choose a stream or topic of interest before or after consulting with the subject mentor. Each stream has more than one mentor, and students can pick their own mentor in the future. Students are urged to think extensively and beyond the box when selecting a topic for their project and to select something distinct from their seniors. Students are carefully led through each aspect of the project while keeping deadlines in mind, preparing them for real-life professional circumstances.

Student who graduates with B.Tech-DTDP will be equipped with visual, planning, software’s and technical skills in various disciplines. They will be a setup for a range of careers in the field of creative, design, planning and also as technical engineers.

DTDP has an unblemished track record of achieving exceptional placements with leading firms all around the world.

Redevelopment Project Charminar & Abids CBD

As part of the 2018, 7th-semester academic curriculum, we the students of Jawaharlal Nehru Architecture and Fine Arts University pursuing B. tech Planning, prepared a redevelopment plan for two heritage precincts in the Hyderabad city. The project was carried out with the guidance of the department Urban and Regional planning.

As part of the 7th-semester academic curriculum, we, the students of Jawaharlal Nehru Architecture and Fine Arts University pursuing B. Tech Planning, prepared a redevelopment plan for two heritage precincts in the Hyderabad city. The project was carried out with the guidance of the Department of Urban and Regional Planning.

The city of Hyderabad is popularly known as the ‘City of Pearls’ and the ‘City of Nizams’, and has been the center of a vibrant historical legacy since its inception by the Qutb Shahi dynasty. Some of the noted cultural sites in Hyderabad are Golconda Fort, Chowmahalla Palace, various clock towers like the Mozamjahi market clock

CHARMINAR LAND USE

Seventh Semester students of Department of B. Tech Urban and Regional Planning, presenting their work with their faculty.

tower, the symbol of Hyderabad - Charminar, Purani Haveli and many more.

Steeped in history and endowed with a rich architectural legacy and vibrant culture, Hyderabad is considered, by many, a natural choice for global status but the city is fast losing its built heritage which may dent its claim. The landscape of this 427-year-old city, now a leading IT hub, has changed a lot, with a considerable number of heritage structures and the cultures vanishing over the last few decades. That is where the importance of the redevelopment plan comes in. Redevelopment is a subject of study where the development takes place with surviving the legacy of a region or a particular area which is the most important aspect of today’s planning scenario of rising urbanization with many issues which makes common urban areas in the present without its past glory.

The selected heritage precincts for our project were Charminar and Abids CBD. Charminar is like a gateway to the old city once the visitor crosses the Musi River through the Purana Pul, the old bridge one among the several bridges that link the old city with the new. To the west of Charminar is the Laad Bazaar, the famous bangle market, and to the southwest is the Mecca Masjid.

LANDUSE MAP OF ABIDS

The north side road had links with many other interwoven, intricate narrow by-lanes with structures built during the Nizams. And during the past few years Charminar has been facing the most acute crisis of its life and it has been noticed that its upkeep is ill-planned, irregular and insufficient. And therefore, the Charminar precinct was selected. Similarly, Central Business Districts [CBD] of the past have a legacy of generating economic development in those days itself. In the case of Hyderabad, old CBD refers to the areas of Abids, Sultan bazar etc, which is not the same in present. They have their own legacy, which is made to stand as CBD as the core source of economic development. In order to bring that glory, the exercise of redevelopment was taken for the area of Abids.

The keen study of history in order to know its past was the first step of exercise. And understanding the conservation requirements of the area and identifying the issues which need to be resolved for social wellbeing by conducting various site surveys like traffic surveys, land use, etc. And finally formulation of strategies and recommendations was made keeping in mind the historical past, Hyderabadi’s memories with the place and also future crowd and requirements.

Gaurav Wakankar

Gaurav wakankar knows a thing or two about robots and I’m not talking about the lovely kind. The Indian 2D Animator known for his short film ‘mother’ and being a member of ghost has earned a spot for himself as an animator for the 11 time Emmy award winning marvelous of a show ‘Love death and robots’.

What was your experience like working on “mother”?

Mother was my first official debut film. Before Mother, I had a project that I never finished which was during my college days when we had a chance to make almost four films every year. But as a student one is very excited to make the best film out there which made me write such prolonged stories that couldn't be done by a single person, so I used to abandon them because of the time they took. Originally, Mother was my graduation project. It was a six-minute-long film called Sacrifice, which had many dialogues, characters like a theatrical play, which was something I loved. I put everything into it, but it became unachievable by a single person. I didn't have the resources to employ. People to make this film so I abandoned it.

In 2019, when my colleagues Upamanyu and Kalpana and others in Ghost decided to finish their films, it made me look back on my incomplete projects. We had a few interns over, so I changed the story of my graduation project 'Sacrifice' drastically and made a prequel to that project which we named Mother. That is how Mother came to be. I was desperate. I wanted at least one film to start and end on my name. Without that, I couldn't even call myself a filmmaker. Then I told myself to keep it short and simple without any over complications.

I knew the story is good enough and works with people even verbally. That's why I did not focus more on developing the story. Instead, I focused on easy characters, simple backgrounds, and break down everything so that it can be done quickly. I got the right people on-board.

I got an art director who helped me not spend my time doing something I'm not good at. I think the people and their special quirks helped my project more compared to if I would've done it alone. This film educated me in every aspect.

The trailer for the new season of Love Death and Robots is out, and it looks really amazing. Can you share your experience while working on this show.

Love, Death and robots is one of the first few projects I did with an international team. I had a chance to work with the same director who I worked with before for a music video. He is a really sweet, supportive, friendly guy who had seen my Ghost work. I sent him a message for Love, Deathand robots and he instantly took me in and told his producers about me.

It was cool because it was my first time working with such a big group of almost 40 to 50 animators and not everyone was working full time. A lot of them had worked for a few months and left. I got to see how big the production team is who handles all the planning of the project.

It was my first time working with a dedicated

producer who took care of everything, from timeline scheduling to file placement. If we needed anything we would approach the producer. I was unaware of such a position because in India I have not seen producers at all. It's a matter that education does not focus on. It's a very important role in the pipeline which can't necessarily be a creative role but it's definitely an important one. It takes away a lot of stress to keep you focused on your creative work. That was my biggest take from the project and as a result the pipeline was really cool. They used 3-D where I hadn't seen it being used before. That really was a good experience.

Anime is becoming such a huge industry. All over the world and even in India, people are just loving it. What is your favorite Anime? You wish to be a part of and do you think there's scope for it in India?

I'm not familiar with the recent anime, so it really depends. I don't have a particular wish, so I think I'm fine with any cool project. But because I grew up watching Dragon Ball Zee and Pokémon, which are still going on. Working on these would be like living a dream since it has a nostalgic impact on me. As for its scope, maybe it's a slow change, but it will make a difference. We are just so used and comfortable to follow the same formula that if a person takes a stand making an Indian anime and it works others will surely follow, but the person has to come up with original Indian material, which ties to our heritage and culture, otherwise a simple anime format would just not work.

How do you think connections and exposure help you build your career from where you were to where you are now?

I am very fortunate to meet Upamanyu, Kalpana and all the members of Ghost. We made Ghost and worked together right out of college. I had a safe umbrella because of Upamanyu, Kalp, and other seniors who were already out in the industry and have been working before us. They had their contacts and clients individually. These clients kept coming back to work with them. It was a collective exposure. Otherwise we had to keep putting work out online without a worry about whether it's good enough or not. At least that's how it is for me personally. My contacts increase because people see and like my work constantly and see my growth and potential as I post stuff regularly. That's how Instagram and the internet helped me to grow my audience. I see my social media as a portfolio of my work. People know where to find me. I think that's a given that if you are free and don't have a project on your hand don't wait for the opportunity but instead showcase your work and make yourself approachable.

Images sourced from @gwakanaka (Instagram)

Ananya Garikipati

Ananya Garikipati is 18 years old and is doing her first year in B. Tech DTDP at the School Of Planning and Architecture in JNAFAU Hyderabad.

Born into a non-sporting family, Ananya is the first generation sports-person in her family. She started gymnastics at the age of 6 but took it up seriously from the age of 9. She played district and state competitions for a few years as there was not much Rhythmic gymnastics in India at that time.

She started practicing on her own using YouTube videos, admiring the Russians who are the best at this sport. When she was 13, she traveled to London for her first international training and competition for "2010 Commonwealth Champion Naazmi Johnston" and later on "Olympic champion Anna Gavrilenko" of Moscow, Russia.

It boosted her confidence and a string of competitions followed. She also participated and won Bronze in the all India Inter-University, in ball apparatus in the recently concluded national championships which was held in Amritsar on 29, 30, 31 of March 2022.

A proud moment for the university for its first ever national medal.

Ananya Garikipati

Richard A. Aina

Richard Adetokunbo Aina is a multidisciplinary designer, and a known researcher with strengths in spatial design, architectural writing, furniture craft, and conceptual film-making. He coined the term “afrorevivalism” which talks about amalgam typologies and liminal space and explores contemporary West African aesthetic expression.

He was awarded the 2021 RIBA President’s Dissertation Medal for his thesis “A Culture of Craft: West Africa (UN).

What experiences in your life carved your concepts into your practice and paved your path for Architecture?

With a keen eye for craft and furniture, why did you choose Architecture and what made you stay in the design realm?

From a young age, I was very energetic and I remember being a capable football player. But at the age of 13, I was badly injured during the game and that kept me away from the matches. It was during the recovery period that I started leaning towards design. It all started with a sketch of a chair that fit in the most uncomfortable corner of my dorm room. That chair that I designed grabbed a great deal of attention from my tutors in the school by which I was exposed to a variety of design skills.

For the rest of that academic year, whilst still injured, I used to spend my spare time with them to carve and improve that chair design, which later came to be known as “The Rib Chair”. All these things that I kept learning fuelled my love for design. Over the next four years, I designed more chairs and developed professional skills like dealing design with respect to spatial organization.

Pursuing architecture seemed quite a creative path that bound all my interests & skills. Being a person from a family with interests in art, there was never a question of not having a creative career. It was just “when are the opportunities gonna delve into these aspects” and realize this is the path for me. For me, I see more reasons towards success in architecture to be more achieving as it fits in the whole nexus of design and creativity.

Why “Culture” as a medium to speak your ideology and what challenges did you face in the process of expressing it?

When I was researching in my fifth academic year, I came across a subject that I’ve never explored before, i.e. projects of West African origin. I spent most of my time in London, causing me to miss the exposure to something that was personal to my culture. I spent time digging about the traditional cultures of west African tribes which led me into the world of architecture and construction practices of west African tribes and this allowed me to comprehend the extremes and richness that is embedded within them in relation to west African identity. I immersed myself into how they let spirituality be real and tangible in the physical world, how their ritual practices, languages, and architectural principles are intricately intertwined.

The initial challenge for me has been to look beyond my preconceived notions, which are an integral part of my own belief systems that are part of my own identity. To immerse myself within the essence of my culture, I originally belong to. I questioned, “Can I ever understand the true essence of some other cultures if I wasn’t born into it?”

How would you explain your work approach for the ideal design framework that you employed in your thesis, attempting to reflect on your recent design and research?

My thesis is formulated in two parts. Part one is the “Introduction” that informs the framework. It looks into why and how West African objects are hugely important. I look into the Lobi Tribe in particular and used that to convey the inexplicable day-today culture, life and community that exists. Then looking at how these objects, through millennial insurrection, disrupted cultural practice for the Lobi people and other West African groups, beginnings of ethnography.

This began to walk the very belief system that was centered through these objects, how these objects that were tangible hybrid forms for mass production began to lose their sacred value in relation to art markets and contemporary art Industry. The first part ends looking at how the ownership of crafted objects or how creativity through crafts can somehow be harnessed, can somehow lead to the other future and how maybe this can be a craft based commercial practice or community practice for the West African groups within themselves and give themselves some kind of creative based strength and cultural reinvigoration.

The second part is a direct response to part one, and the project deals with designing a space where these objects (when returned by the famous international museums), more importantly the “Batebas” (figure

like objects which are of very personal importance to the Lobi culture) can be preserved as well as provide the people of Lobi tribe with an opportunity to serve their deity figures and live their heritage. These objects could be in some kind of very structured framework. I then began to look at the site through various aspects, which allowed me to show how vernacular construction could exist within the site, looking at the vegetation, the geology, and the makeup of the hill. It almost felt like a proof that vernacular construction could occur through the use of natural materials and traditional techniques that are available locally.

The interesting thing is, I didn’t design the space with the conventional architectural aspects in mind but the final design happened through cultural agents playing their part i.e. key traditional figures of the Lobi culture, where I allowed the architecture to thrive. So essentially the building becomes an architectural conveyor belt that provides conditions for the returned “Batebas’’ from the museums by which each of these agents can represent their identity as objects of cultural importance. Within this, you realize how the building in of itself, whilst being a “Bateba conveyor belt”, also acts as a way in which these “Batebas” are virtually reinvigorated into traditional Lobi practices.

Lobi celestial system

A bright future of craft-based creative exchange and future trade.

This allows us to reach a conclusion, which provides an insight into what this kind of architecture approach is and maybe simple looking objects as such, can be of great importance in terms of heritage and culture.

In today’s case of the tug of war between development and environment, how does going back to the roots and looking for a solution help address the development- culture- climate paradigm?

I think West Africa, or Africa itself, is still directly experiencing the exacerbating effects of its colonial legacy and I believe that there’s a collective unknowing of personal and collective history. Having lived in Nigeria myself for some time, I can’t speak the traditional language- “Yoruba”. Being of Nigerian descent, I have good knowledge of Europe and European culture but almost very little of my own culture.

By acknowledging the culture, now having researched rigorously for nine months, it has actually gotten better. It was the imposition of European colonial measures that had ruptured the very meaning of what it means to be West African and their traditional principles, and we all know that industrialization has been one of the driving factors which is comforting us today.

So in my mind, the real solution for African nations is to begin looking at their core principles of traditional practices.

One of the most prominent movements that pervade contemporary architectural practice is “sustainability” and yet we have concepts like “net zero”, “passive house”, “embodied carbon”, “new values” etc. I believe there’s a plethora of West African tribes that’s thriving while accommodating climatic conditions in the areas of tropical and coastal conditions utilizing natural resources that were available which didn't have a negative effect or ruining the environment in any significant way, and they are almost always good to nature much by employing techniques like adobe construction. There’s so much brilliant intellect and approach to the design, construction and in-habitation with respect to the environment and I think that just begins to inform ourselves and extrapolate.

“To know thyself is the beginning of wisdom”.

~ Socrates

The Diviners Quarters Roof opening Interior afternoon illumination model.(Current page)

The Vessel exists a hypothetical manifestation, derived from a presupposed interaction between architects and Lobi Master Masons. (Left page)

The Vessel front entrance view, rendered & collaged

An Anecdote

~Department of B. Design

Ar. Nawazish Kirmani is the founder and chief designer of Dastkari. Starting early with an independent practice, his learning process was hands-on and amidst workshops and craftsmen where he learnt the importance of awareness of manufacturing processes and limitations of tools and machines, which helped him bridge the gap between design and execution. This knowledge, combined with the connection he was able to make with the craftsmen, made the pathway to Dastkari, which combines traditional craftsmanship and precision engineering to create fine furniture in solid wood. While Dastkari's furniture is well known for it’s simple yet stunning visual presence, within architecture and design circles, it is highly appreciated for it’s attention to fine detail. Mr Kirmani firmly believes designers should spend as much time at workshops as they do at the work desk, if not more.

Furniture design is a field extremely close to the interior design world. We will look closely into the working of Dastkari and how Mr Kirmani became an ace in the field; starting off with a small workshop at raj bhavan road about 4 years back where it was just 3 people, a carpenter and a helper and Mr. Kirmani working hard all the way from unloading to designing to helping the carpenters cut or saw, Mr. Kirmani was hands on to making evolution and growth of a project that had so much to speak for the craftsmen.

The hand work philosophy:

“Achievements are not really significant” says Nawazish as he mentions he’s not really proud but embraces the 500+ unique creations made by Dastkari, since he wants to keep moving ahead and not really look into past achievements. Coming from the field of architecture, Mr Kirmani was not happy and overwhelmed with the loss of detailing and time management in the field of architecture, yet he continued for survival. He wanted to involve more detail in his practice, and that’s where Dastkari came in. “Dast'' means hand and “kari” means practice.

He calls Dastkari everything. His design process is inspired by the making stage where he provides knowledge and solution for not just the design perspective but also the manufacturing end for the craftsperson to know what path they need to follow. He calls himself a bridge between the architects with specific needs and the craftsmen to help fulfill them. His philosophy is to keep the work desk and the workbench close to each other so that your focus stays intact.

Images sourced from Dastkari website (https://www.dastkari.in/)

Procedure of a unique piece at Dastkari:

Mr Kirmani integrates arts and crafts into his furniture he has given an example of Bidri art form which other competitors use as well but tend to make really tiny goods such as coasters out of the craft which he thinks doesn’t bring out the true sense of the craftsperson and so he has attempted to throw a challenge across to them by making what is probably the largest Bidri plates cast in one sheet. He also spoke about a few challenges that came across whilst making such a large piece;

1) The composition of alloy.

2) What differences need to be made in the mold making process since this is a larger attempt?

3) When the work is being done on the sheet, the distortion and deformation of the sheet is to be kept in mind for a desired end result.

He also mentioned certain ways of weavings being lost if not passed through the generations.

“I think a lot of women can be trained to weaving work” he says so in order to increase the employability of the woman who might be working as a house help in 4-5 houses but when NGO’s make programmes to teach unskilled workers the skills to eventually be independent and enter the skilled market. These thoughts are important for the future of furniture.

“So we learn a lot through our mistakes in such projects. The aim is not to earn a profit or make a fitting sale, but to create the drive to make something new as craftsmen and artists. The results of that are also part of our inspiration to do more such activities.”

The future:

Speaking of the future of furniture design and how it is very rich in scope, Nawazish guides the youth and the people to clear out basics first and then learn new techniques and materials. Resolve the ground first. He says there are a lot of new companies leading to increased scope in the field but “There are two ways students can see the field one is from the same tiny hole of design as something which is visual that they need to create or from a wider perspective where they understand the materials, the manufacturing, the economics, the place, the time and sequence of events to reach something more tangible and real.”

And since the scope is high, he suggests students to put themselves forward and make mistakes, go and see the processes and get things made to really understand what one really wants. He mentions the drive is his real inspiration and sees things which are beautiful, intelligent and smart and the desire is the inspiration. Being able to interview Ar. Nawazish Kirmani was an inspiring experience.

We also looked into a fellow student in the B.Design Dept, Habib Rashad who recently won a national Bronze, A' Design award in arts, crafts and ready-made design category, 2021-22. With his piece "Rims and Spokes", which is a coffee cum showcase table made from rims & spokes of a bicycle which was topped with a chamfered glass pane. Innovative yet simple, it is also elegant and functional. It fits all types of interior settings due to its chrome transparent colour scheme. Overall, the ingenuity and creativity of the product are unique and may just be the perfect centerpiece for any space. Habib Rashad has been conferred the honoric designer title of 'Practitioner' and ranked #111 by the World Design Rankings.

Going Back in Time

Interview by Anuraag Bairam, Kalyana S. Vemuri, Y. Sai Komal

Kalpana photo studio is one of the oldest studios in Hyderabad which has been established by Sri Narasimha Rao Garu on 21st march 1962. They were and also are very popular for their portraiture photography and even commercial photography.

His eldest son Sri Vidya Sagar Garu is running the photo studio along with his brothers and continuing the legacy of Kalpana photo Studios.

How was Kalpana Photo Studios formed and what made you and your brothers follow it?

My father Narasimha Rao Garu, learnt photography from the legendary photographer Bhagwan Sir, owner of Archarya bhagwan studios. He set up Kalpana Photo Studios on 21st March 1962. My father coined the name as Kalpana -an idea, his idea. I was 6 years old then. I used to sit at the counter of this studio when my father went out for some shoots. My father was my inspiration. He was a great artist and visionary.

We started with 4-5 helpers, which then grew to 1416 people working with us, because it was a manual process altogether. My second brother, Mohan, used to do complete dark room work and manage printing. Now he is managing the color lab. My third brother Sudhakar, is into retouching and print finishing. He is now doing the digital retouching work. My youngest brother Sridhar, is into outdoor photography for closely linked people.

What was the first camera you ever used? What equipment was used then?

We had two cameras in the studio. One is a field camera and the other is a Machine which is a bulk film loader with 100 feet films, introduced as a Hanagraph machine. Consumers preferred Hanagraph more. There were ambient light studios at first, then came electric studios. Most of the time, with photo floods in addition to which we had 3-4 lights in electric studios.

What are the different kinds of films and cameras which you have used? And which one is your favorite? And which equipments are you using now?

I used B2, Quarter, Cabinet and 6X12 films. There were larger film sizes, but we haven’t used them due to the space constraints in the studio.

I liked Nikon very much. When I went to Singapore, I got a Nikon 180mm shutter lens. I was so happy that I gifted it to my father. Field cameras would be my choice though they have less available lenses.

I like canon cameras now. We used to have ATBs to do the color correction for the flashes. But that is not needed now as we can do it directly.

What is the most significant difference you observe between today's photography and photography from your time? Can you share what was going through your mind when you were shooting during the reel days?

The digital or film camera doesn't make any difference. The person behind it should be an artist. But the usage of equipment certainly has had some changes. In those days we had to do everything manually. Film camera or view cameras, the ultimate product only comes after developing the film in the darkroom.

I used a field camera with cap exposure not with shutter, that was 200 ASA film or 400 ASA film and the aperture will be something like f/8 and cap no shutter. You have to be very careful and precise. You have to observe the model and catch the expression. So I had to caution them always. Now you even have the

luxury of taking expression, action shots. That's the difference. Photographers should be very alert, these days or in those olden days. To get a perfect shot one should be keen to catch the precise expression and adjust lighting accordingly.

Nowadays, we copy images straight through Wi-Fi to the system and start editing. How difficult was the use of chemicals in film processing? What was it that concerned you the most during the darkroom procedure, such as agitation or film washing?

Everything had to be done in a darkroom. Nowadays, you can do it in daylight comfortably sitting in an air conditioned room. But in a dark room you have to be precise developing a film and without the light leaking. After developing and fixing, you have to patiently wait for the result to come.

We never had an air conditioner in our dark rooms. In summers the sheet films would melt so we used ice for the developer .It generally takes little time for process and ice was necessary at that time.

What is the first programmable camera you have used and what was your experience?

In the 1970s we heard that programmable cameras have been introduced in the market and it has been made available to a larger public. As I was using a field camera only, I never had to use shutter lens (field cameras use cap lens exposure procedure which involves opening & closing of the cap). Later on these programmable came in. Only in the 80s did I get shutter lenses. I used to mount the Nikon 180mm shutter lenses to the field camera. When we pressed the release button, we'd get the exposure. Whenever I used the sheet film, I used only single exposure.

Later we evolved from B&W photography to color photography? Was the processing time the same for both the color and B&W films?

I always liked B&W photography. It was the customer’s choice to take color or B&W. The processing time is all different. When color came into the market everything turned out to be computerized machinery even for developing.

During B&W film process, we used to prepare a mixture of chemicals with different proportions for 2 ltrs. Film processing would be completed in just 13 mins. We would process the films manually for 5 mins and wash the film for 30 mins under running water.

That is why it started to fade away. Everybody wanted color. So I switched to 35mm/120mm depending upon the size of the photograph.

How did you manage the cost restriction when the transition from B&W films to color negative and color positive films emerged?

The shift didn't really affect me that much. I used to take 4"X6”, 8"X6”, 10"X12" and B2. The B&W films were costly because I used to take sheet films. 120mm and 35 mm were different things. I used only sheet films so 36 exposure color film was cheaper for me.

Later in the 1990s and 2000s, film cameras evolved to digital cameras with memory cards and storages, which then evolved to DSLRs. The real challenge came to the passionate and professional photographers. How did you face the challenge at that time?

With film cameras you didn’t have the chance to take multiple or second shots. For the second shot, I had to go to the darkroom to change the film from the slide. By that time the expressions of the subject & mood would change, children would start crying and their hair would be flying.

If you are a professional you must be able to tell what you thought through the photograph. It is not the camera that we use. It is whether we have met the expectation of the customer at the end of the day or not.

Interview by Photography Students

What is the one thing you think shouldn't have come into the digital era? If you had eternal power to revert back something from the digital era to the film analogue era, what would it be?

I am adapting myself to the new generation cameras also. The developing process has been reduced in a digital camera. If you insert a memory card, you are getting more than 400 exposures, where at that time we used to only get 36 exposures.

The only thing that the digital era has now is the ASA or ISO. You instantly change the ASA of the camera at your fingertips. But we had constant ASAs for a film roll. For wildlife or a fast-moving subject, we should use faster shutter speeds which was not possible for lower ASA films. But now everything is a cake walk in the digital camera.

You almost saw 2-3 generations of commercial photographers. Where would you see the next generation commercial photographers?

Studios will vanish. By keeping a shop, maintaining overhead lights is a burden when there are no customers. They are coming just for passport photos. Even those, they are taking photos on the mobile with a white background and getting them printed. Matrimonial organizations weren’t accepting digital images of brides due to excessive Photoshop editing.

As a professional photographer, after making a contract with the client, there are few people who do mediocre photography at a lesser price. Do you think these photographers are cutting down the prices for professionals?

What advice would you like to give to aspiring photographers?

That is there in any field. If you have talent, people will come to you. Don’t bother about the price. Because you can’t do it for everyone. You have to wait. The key thing in photography is patience. You will have your sale. In wildlife photography, they say that without a single exposure they wait for 2 days and on the 3rd day they get one picture which relieves all the pain for the past 2 days. Consider any photography, you should have satisfaction. Even a layman should understand the photograph. You must have lots of patience in photography. You must have a map in your mind of what photograph you are taking. You must sit until you get that photograph. While dealing with people you must be able to express what outcome you want.

Interview by Photography Students

A World Sans Design

~ Tanisha Puri, Department of Applied Arts

Let’s take a world existing without something that has accompanied man right from the beginning, ‘design’. Even though, in the mindset of a layman, design isn’t an essential, it is a pretty indispensable element in the modern day. No graphics, inefficient layouts, unsatisfactory advertisements, wrong choice of font, messy color scheme, friction during user interactions, and a hurried user experience are just a few indications of the absence of design.

Ux/ui design plays an essential role in achieving this goal. The ux/ui design of an application improves the user experience and customer satisfaction, which ultimately helps increase the number of users of the specific application. Chaos in the virtual world is inevitable if we withdraw design from it. Screens are taking over our lives rapidly. With this, there is a high growth in demand for advertisement, graphic design, animation, etc.

Designers simply improve the world around us. By shaping how we live, work and communicate, this is actively being recognized by more and more employers, from ergonomics to ux and even entrepreneurs. Design isn’t just about making things look pretty, but rather it brings innovation to the forefront of everyday situations and turns them into something better. Design is basically objects, graphic communication, technology, and products.

A world without objects is dysfunctional, without graphic communication is blank, without technology is simple and without products is, well, un-natural.

Design re-imagines the world and solves problems we haven’t even identified yet. So, a world sans (without) design is like taking away all the pizzazz from life itself.

Late.

Shivarama Chary

~A recollection by Anand Gadapa

Late. Shivarama Chary, the artist who transformed, found things into works of art. His figures are the epitome of happiness and bliss.Other aspects of his art include man, nature, and nostalgic feelings related to his childhood experiences, such as fleeing from the ordinary world. Shivarama Chary is a believer in his heritage and is drawn to Indian philosophical ideas, which he tries to reconcile with the complicated practice of conceptual art.

" Shivarama Chary and I were great friends. We have known each other since our college days. We did different things together. We struggled to make ends meet. In the meantime, we thought we should make space for students like us who would be going through the same things. During our years as artists, we have organized workshops for young artists as well as famous artists.

Thanks to the work done in these workshops and the money brought in from these works, we have awarded scholarships to young artists to study at Baroda. Throughout this process, his contribution is huge and in the meantime, he ran his studio.

It was due to an unfortunate turn of events that we were not able to create a space called "Sculpting Space" for which we bought a half-acre plot near his studio. The idea of "Sculpting Space" is to create a space for young artists who are often out of school and barely have any space to work or means to purchase materials. The alumni of this school, along with all the other young artists, used to work in this studio. It has to be noted that Shivaram Chary has always encouraged people towards art.

We have implemented a concept where work and theory should be combined when running a studio. Once he brought materials from a scrap yard and he combined various materials; bri-collage, to create art out of it. While doing a job like this, he acquired a lot of support from the students. He imparted a lot of knowledge to the practitioners.

There is a lot of encouragement and technical support given to the students and young artists. One of the principles of Shivarama Chary is to learn from everyone and never underestimate anyone's talent.

He especially learned a lot from his students through the teaching process. He was a great painter. He explored a lot of mediums, particularly the post modern medium and water color being his favorite.

Prof. Anand Gadapa on behalf of his late friend and close associate, Artist Shivarama Chary.

Late. Shivarama Chary and his work

Sculptor's Studio Visit

He used to organize camps where he would invite artists and conduct traveling workshops. The main aim of these workshops was to produce work using local indigenous material. The final result was produced in the workshop and was also on display. He expressed himself in a variety of visual languages. Today, Young artists and students gather in the studio to share ideas and creative contributions that will benefit other learners. I hope this studio will continue to promote activities like these. He created two key sculpture series: Blossoming Love, which aims to demonstrate how nature is very close to us and how we are attached to it, and Voyage, which is always a Voyage. This is the last sculpture in the series. We've also collaborated and created 10-15 pieces together. In the KalaKriti gallery, we also showcased an exclusive exhibition.

He left the head of the "Voyage" sculpture untouched. Then, while he was in the hospital, he told me that I needed to finish this and send it to GHMC Narayanpet. He also desired that I write about this work and also that I not change the title. "Infinite Voyage" is the title of that work. He left behind many works from the "Blossoming Love series", including this "Voyage", which is extremely heartbreaking because he never finished it for us. It's a sad state of affairs that I couldn't get this work delivered to GHMC. They are also hesitant to accept this piece. I use it as a symptomatic work between him and me. One day, while I was painting, he asked me, "Why don't you start talking about anything?" So I started talking about social history and cultural history. I was interested in theory, but I was a painting student, so he told me he would send me to Baroda to

to study art history. I studied Art History because of him. My financial situation was not great at the time, so he would send 2000/- Rs per month for almost a year. My only memento from his work is a clock he gave me. He advised me to keep track of time every day. He's always been a strong supporter of mine. He used to call me by various nicknames and show me the other side of myself.

Whenever I made a mistake or got myself into a state of dilemma, he would intervene and correct me. I am extremely grateful to him."

Sculptor's Studio Visit

- Anand Gadapa

Street Cause

Street Cause is the largest student-run nongovernmental organization of Hyderabad, present in 5 more Indian cities, namely Bengaluru, Chennai, Kochi, Pune, and Visakhapatnam.

It was formed with the vision of service to humanity. With an active workforce of 5000+ students, and a history of 8000+ projects, it was originally founded in the Sreenidhi Institute of Science and Technology in the year 2009 with Akhilesh Jukareddy as its President.

Since 2009, we have established our division in 50+ colleges. We have an esteemed alumnus of 50,000+ members and a workforce of 5000+ members every year.

Street Cause JNAFAU was formed in the year 2019 by C.V. Jaydheer Naidu, student of SPA, JNAFAU. Since its inception, Street Cause JNAFAU has been one of the most active and efficient divisions in Street Cause. We have accomplished 15+ projects and impacted 4000+ people during the period 2019-22.

Among these projects, some of the remarkable projects we took up are the Hijra community, flood relief project, water treatment plant project and solar lights project, which were very impactful for the needy.

During this term 2021-22, we have executed projects worth Rs. 50,000 and impacted over 1500+ people. We have also conducted the first offline fundraiser in JNAFAU named “FUNTASTICA” on 29th December 2021 with a total participation of 200 students from various departments of JNAFAU.

We aspire to take up projects worth Rs. 2, 00,000 by the end of our term and continue with the same rigor and determination for the upcoming years. We are very grateful for the support that we get from our college that makes our work possible.

~Committee of Street Cause

Funtastica 2021, organised by Street Cause, in JNAFAU Campus

Inspired by 'Vitreous' academic initiative's Judd Foundation, stalagmites and stalactites fused together arrive at the final form, which is converted into a mesh work.

Transit/Void, entry submitted by 4th semester, Architecture students, 2020

Graphic by Narayan Ashanahalli

Masab Tank, Hyderabad, Telengana, 500028

Jawaharlal Nehru Architecture and Fine Arts University