PARIKRAMA | Indian Arch 2022

NASA I N DIA NASA I N DIA

E AZINE MAGAZIN UAL MAG ANNUAL ANN

An architectural tableau.

An architectural tableau.

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Indian Arch 2022

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The Palace

Kallem vivek vardhan reddy

FOREWORD

W

ell, I am assuming you are reading this in a library years later after this book was published. Did you know that the content of this book, the posts you see on social media, and the website, are all done by students? Students from across the country have laid this Giant Arch of an Association brick by brick.

As Louis I Kahn would ask a brick what it liked to be and the brick would never persist to make an arch. Here is such an organization, that is one of a kind in this world, where students sacrifice time, effort, and a whole lot of money just to ensure that their peers around them and those yet to enter the course are all gifted with the perks of their effort.

Uff, selfless would be a small word compared to how they have all contributed to this organization through these years. The bricks metaphorically are the students bonded with each other in an English or a Flemish fashion :’) , not with mortar but rather an ideology that’s been alive for 64 years.

As we mark 64 years of NASA India, we look back at how far we have come. What started as a mere movement to have a freehold degree against a conventional diploma by the RIBA is now a “Giant Arch” that welcomes every undergraduate architecture student with open arms. As a high school student, I would never believe the possibility of an Association run by students at so many levels of hierarchy; In retrospect, I would still be surprised at how the 13 of us in the 64th council have pulled off a great feat. Indeed, a Herculean task.

What is NASA India? ?

NASA India is a megaphone for those who can raise their voice despite the hassles that may come their way. NASA India is for those, who believe there’s more to architecture than the four walls in the studio. NASA India is for those who are outrun by primitive syllabi and succumbing to the trauma that comes with the course. It Is everything, everywhere, all at once!

As you commence reading this wonderful magazine I would like to remind you that the students who put this together sitting at their homes, declining the mere time with their parents, friends, and lovers are the greatest essence of this association, i.e wingless birds yet who fly, rebels with an undermined cause, and those who dared to step out of their comfort zone just to catch your eye!

This is what makes the association stronger and mightier each year. Godspeed.

Regards,

TARUN KRISHNA ALLURI

National Vice President 64th Year, NASA India

Indian Arch 2022

FOREWORD FROM 64 YEAR VICE PRESIDENT th

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PREFACE FROM 64th YEAR PRESIDENT

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PREFACE Dear Reader, As I reflect upon the journey of NASA India, I am constantly amazed at how a platform that has been in existence for 65 years continues to evolve, adapt, and form a vast network of creative minds. The association has been a catalyst for leading, learning, and collaboration among budding architects across the nation and will continue to be the platform. It is important to define the next milestones and the goals we aspire to achieve! Now, we are to delve deeper, deeper than we have ever been, and ask the questions that matter the most. “What do the students want?” How would NASA grow to serve the communities better while staying relevant in the changing times? Let us zoom out and look at NASA India as a community where we all win for each other. Let’s break the stereotypes by ‘Envisioning’ deeper communities, deeper connections, deeper contributions, and a clearer vision. It’s time we share, learn, plays, and connect with every future, past and current builder of societies and cultures.

I am delighted to present to you this year’s edition of our architecture student magazine, which promises to be a true treasure trove of inspiration. This edition focuses on the beauty of architecture that is diversified and explores the architectural marvels created by non-natives in different parts of the world. It is a celebration of the rich tapestry of global design, showcasing the talent and vision of architects who have transcended cultural boundaries to create iconic structures.

The primary aim of this book is to bring together the outstanding work of architecture students from various institutions. We believe that showcasing these remarkable projects will not only inspire fellow students but also enrich their knowledge and expand their horizons.

Through the pages of this magazine, you will embark on a journey that traverses continents, unveiling stunning architectural wonders and encouraging you to think beyond borders.

This year’s Indian Arch seeks to embrace the diversity of architectural styles and narratives, fostering a deeper appreciation for the global heritage of architecture. We hope that this edition will ignite your imagination, challenge your perceptions, and inspire you to explore new frontiers in your creative endeavors.

I extend my heartfelt gratitude to the entire team of NASA India for their relentless efforts in curating this edition and making it a reality.

Their zeal brought forth a publication that showcases the best of architectural talent and celebrates the spirit of collaboration. On behalf of NASA India, I invite you to immerse yourselves in the pages of this captivating book.

May it catalyze your creative journey, reminding you of the power of architecture to shape our world and inspire change. Happy reading!

Warm regards,

MANOGNA MALEMPATI National President 64th Year, NASA India

NOTE

A

s an architecture student, I have long been intrigued by the workings of NASA India, the largest student organization in the country. Over its impressive 65-year history, the organization has exhibited an impressive scale of work, learning, and professionalism, all of which have been undertaken by and for students. During my fiveyear tenure with the association, I have witnessed its growth, nurturing, and development as a student community on both national and international fronts.

However, during my time as part of the council in the 63rd year (2020-21), we were confronted with an abrupt disconnection, which forced us to adapt to new modes of communication and work. Despite these challenges, our association responded with agility and resilience, leveraging our architecture education to find solutions, innovate, and lead. The COVID-19 pandemic has brought into sharp relief the strength, potential, and adaptability of NASA India as a student community. We have come to recognize that we are more extensive, stronger, and more intelligent than we had previously believed, thanks to the critical problem-solving, visionary, and innovative skills that our architecture education instils in us. As a catalyst in the architecture fraternity, NASA India plays a vital role in cultivating and empowering architecture students as future architects, designers, and leaders.

It is an honour for me to have contributed to this magnificent journey of development and growth of NASA India.

The rich and illustrious history of NASA India spans over six and a half decades, marked by a continuous pursuit of knowledge sharing and learning among students. With the advent of digital transformation, the association has made significant strides towards achieving its vision. Each year brings with it fresh opportunities for exploration, ideation, and improving the quality of service to the student community and the architecture fraternity at large. The unwavering dedication and tireless efforts of the past council members and all those associated with the association have been instrumental in its sustained success.

During my tenure as the custodian of NASA India in the 64th year, I was inspired by the learnings and experiences of the past to carry forward the vision of learning, growth, and sharing. At the headquarters, we worked together as a team to evolve and strengthen the association’s legal and administrative framework.

The 64th year, which followed an extended period of online proceedings, was a crucial phase for the association as it aimed to resume normal operations.

The theme “Grassroots,” meticulously crafted by the National Advisor, was aligned with the association’s fundamental principles of community engagement and societal impact. It is with great pride and admiration that I reflect on the immense contributions of NASA India to the field of architecture and the student community.

The association continues to inspire and empower architecture students to become architects, designers, and leaders of tomorrow.

I would like to quote Robert Johnson here, whose words inspired us to do more and be more. “The world is run by the people who show up” The architecture and construction industry has undergone a transformation in recent times, with advancements in technology and changing trends.

However, it is disheartening to note that the education system has not kept pace with these developments, resulting in a lag in professional practice. In India, particularly, this issue has created several problems, including low pay for architects, exploitation of architecture students during internships, repetitive work, and limited opportunities for growth. These challenges have culminated in a larger crisis, with architects leaving the profession and seeking employment in allied fields. At the 64th Annual NASA Convention, we observed a surge in demand for workshops on allied fields by students, which is an encouraging sign for the architecture profession. This shift in approach suggests that architects are evolving, innovating, and expanding their horizons, not just as designers, but also as entrepreneurs, artists, photographers, filmmakers, product designers, UI/UX designers, and in many other roles. With the vast range of possibilities for career growth, NASA India is committed to helping and supporting students in acquiring the necessary skills to succeed in these allied fields. It is essential to recognize that this dynamic approach will not only benefit architects but also enhance the reputation and relevance of the architecture profession in the industry.

NASA India’s unwavering support to promote a culture of continuous learning and skill development among architecture students is an admirable step in this direction.

During my observation of the 65th year of the association’s proceedings, I have noted with admiration the council’s commendable efforts in providing valuable real-life exposure to students through the organization of diverse summer and winter school programs.

This signifies that the association is more than an Annual Convention, and the new programs and events have facilitated learning and collaboration among students from different regions. Moreover, the upcoming education policy emphasizes the need to make the architecture course more practical and skill-based, a move that will likely enhance the growth and prominence of the association within the Indian and global architecture community.

I would like to express my gratitude to the 65th-year council of NASA India for providing me with the platform to share my experiences, thoughts, and learnings with the student community through Indian Arch. I hope that this exchange will inspire and equip future generations to elevate the association to greater heights.

Warm Regards,

ANURAG GAUTAM

National Secretary 64th Year, NASA India

Indian Arch 2022

NOTE FROM 64th YEAR SECRETARY

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PREFACE First of all, Greetings from NASA India!

As time passed, we didn’t realize that for more than 60 years, NASA India has been blooming with more than 60,000+ students from over 300+ colleges across the country. Such is the legacy of NASA India, and it’s a blessing to be a part of such an association. Indian Arch inspires the students and encourages them to use writing, questioning, photography, and other varied techniques to make sense of the architectural world beyond drawings. Hence we proudly present you this year’s Indian Arch - Parikrama - An Architecture Tableau.

This edition explores the world and takes you on a virtual tour around the world to learn about and explore the architecture of the world. The interviews, articles, illustrations, and recommendations will keep you engaged throughout the read and surely increase your knowledge as well. But don’t make the mistake of quickly swapping the pages, you might miss some of the interesting parts of the magazine!

We would also like to take this opportunity to thank everyone, including the editors, designers, students who submitted entries, architects, coordinators, and council, whose ideas and efforts are reflected in the pages of NASA India’s Annual Magazine - Indian Arch.

We welcome you to IA’22. Have an enjoyable virtual world tour!

64th EXECUTIVE COUNCIL AND ZONAL COUNCIL

Brace yourself for PARIKRAMA , On behalf of the Indian Arch team, we are thrilled to present this edition, which explores the theme of “Parikrama”, a circumambulation expanding the horizons of travel, presenting a larger library of architecture, and narrating the tales of master architects, and stories from students alike.

Travel typically fuels our creative process, and architecture enthusiasts adore the act of being exposed to various cultures, climates, materials and spatial solutions. We undergo the tiresome effort of visiting places, documenting the built space, and then photographing ourselves standing in their shadows. The following architectural tableau allows you to directly witness these global structures, symbols of their age, histories of their cultures, and emblems of human endeavour.

Our team of writers, illustrators, and designers have worked tirelessly to bring to you a diverse and thoughtprovoking collection of articles and features that showcase the richness and complexity of the global architectural landscape. Going beyond the geographical lens, the magazine takes the readers on a journey through time, place, and people, surpassing landmarks and narrating experiences.

We are particularly excited about the design and layout of this edition, which leaps out of the ordinary magazine tableau and goes on to explore the bright and playful graphical side of the presentation.

This edition of Parikrama inspires readers to appreciate the diversity and richness of worldwide traditions, offering a diverse array of perspectives and voices. We truly hope that our efforts towards giving our readers an insight into the beauty and complexity of the built environment and recognizing the vital role that architecture plays in shaping our world will encourage them to delve into romanticized visions of the world.

Bon voyage Sandali Rathore (Print media Co-ordinator) Ponnuru Akhil (Designer in Chief)

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EDITOR

EDITOR

EDITOR

EDITOR

Khushi Gupta

Nayani Pandit

“Stuck in a loop of infinite dilemma’.”

“Manifesting the logic of ‘and...and...and’ over either/or.”

“ Young, broke and dumb”

“The distance between your dreams and reality is called discipline.”

IG-@tushita Basak

IG-@bhagyashreedongre

IG-@guptakhushi213

IG-@Nayani_Pandit

EDITOR

EDITOR

DESIGNER

Bhagyashree Dongre

DESIGNER

Tushita Basak

Lipika Pandey

Kotha Sai Varun

Adviti Damodar

“What is intended to be will always come to manifest.”

“Keep Calm, Let Your Work Shout Out Loud!”

“Finding peace is not the way, peace is the way”

“There’s never enough time to do all the nothing you want”

IG-@kotha_saivarun @drop_n_in

IG-@adviti23

DESIGNER

DESIGNER

DESIGNER

IG-@_l.i.p.i.k.a._

IG - @ parag_s_2911

DESIGNER

Parag Shirke

Deepam Mehta

Harmandeep Singh

Aarthi Reddy

Isha londhekar

“What are YOOOUUU doing here_!”

IG-@deepammehta @rapt.harbour

“Life is too short to complain, smile and have a cold coffee. ”

“Stay beautiful keep it ugly. ”

“We were meant to be real, not perfect! ”

IG - @__aartheee_ @ bluegr.een

IG-@ishamazing_._.

IG - @mr_singh.26.3.24.9.17

Indian Arch 2022

65TH YEAR VICE PRESIDENT

DESIGNER IN CHIEF

EDITOR

PRINT MEDIA COORDINATOR

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Ponnuru Akhil

Neeraj Kumar

“Sit with the feeling, it’ll help you run that extra mile”

“The first part of the process is to design a conversation, not a building.”

ABC “Always be creative”

“Captain Han Solo”

IG-@chandana_chandraa

IG-@sandalirathore

IG-@akhil13.ponnuru

IG-@anotherneeraj

DESIGNER

DESIGNER Rachit Jain

DESIGNER

Sandali Rathode

DESIGNER

Chandana Chandra

Vignesh Rao

Shreya Yasala

Reet Pandya

“You miss 100% of the shots you don’t take.”

“Do more shit”

“Wind waves and peace”

“There is a past version of you that is so proud of how far you have come”

IG - @_.rachitjain._ @_dirtcloud_

IG-@vigneshhrao @concrete_xjungle

IG-@shreya_y_10 @shreyayas10

IG - @reet_57

HELLO INDIAN ARCH READERS! We are glad to find you here. Well, we all love to travel, so where was the last place you visited? And what is the best architectural feature of that place?

We have curated this years Indian Arch to answer all your architectural travel questions. This edition, unlike any other, travels around the world and shows you the architecture of that place. The illustrations, graphics, interviews and entire content are curated to give you the actual feel of travel. ‘‘Parikrama’’ will act as a travelogue, or rather a travel guide for you. We are sure you are not gonna regret this read.

But before you get on board, we would like to express our heartiest gratitude to everyone who came along to make Indian Arch 2022 possible.

We sincerely hope you enjoy reading it as much as we enjoyed curating it.

With Love!

Signing off, Team IA.

PREFACE 001 - 013

INTERVIEWS EDITOR ARTICLES 014 - 043

048 - 071

STUDENT ENTRIES 076 - 103

BUFFER PAGES HERE n THERE

•

Foreword f rom 64th Year Vice President

•

Preface f rom 64th Year President

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A note f rom 64th Year Secretary

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The Executive Council

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The Indian Arch ‘22 team

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Designing with the Dunes

Diana Kellogg

•

The Height of Green

Ken Yang

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A B.I.G Intern

Harish Karthick

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How Architecture Travels?

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La Vie en Monotone

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BAUHAUS : A History of Modern Architecture

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The Beloved Veteran “Doshi”

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Hey lo, melange

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The Cultural Influence on Various Geometric Patterns

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Poetic Narrative for Ar. Richard

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Bayul Demazong

•

Key Monastery

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Architecture a Realm of Its Own

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Architecture: A Tune of Relentless Growth

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Streets : A Setting for Life and Architecture

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Seek and you shall find ! !

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Designing with the Dunes 019 - 025

THE height of green 032 - 036

A b i g intern

042 - 045

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01 02 03

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Designing with the Dunes

Diana Kellog Interviewed and Curated by Nayani Pandit, Ambika Kannu, Lipika Pandey and Tushita Basak

Diana Kellogg is an Architect involved in sustainable design. Prior to starting her own firm in 1992, she earned a BA f rom Williams College and a Masters in Architecture from Columbia University. Diana uses materials that are local and employs straightforward and efficient design principles in her work. The GYAAN Centre in Jaisalmer, Rajasthan, is among one of her most well-known creations. This conversation encapsulates her work and beliefs in its entirety. This interview captures the essence of her work and philosophy.

Introductory Questions IA: As stated by you in a prior interview, “It’s 5 MUST KNOW THINGS before going for 01 architecture 06 anIA:architecture that chooses you”, tell us a little internship. about this journey of architecture choosing you and making you into this well-established and successful architect.

DK:

When I was a child, I worked with my grandfather in his woodshop, and I always loved it. I was always struck by how people who built things made it seem like magic. This is why I think architecture “chose” me – I knew I wanted to make those same magical structures and creations.

DK:

I believe there are 5 essential things you must keep in mind while at an internship: • You are there to learn.

• You are there to assist which means in anyway possible.

• You are there to understand how to show up.

• You are there to listen and absorb.

• Expect to do menial tasks while you are accomplishing ...the above.

IA: How would you describe your IA: MUST HAVE experiences for architecture 02 architectural 07 students style and what’s the story behind before finishing school. its discovery?

DK:

I initially began my work in high-end residential design and eventually found myself in non-prof it community projects. I have always been committed to sustainable design – with deference to an existing sense of place and history and creating spaces that provide for communal interconnectivity.

Once I began my work in the non-prof it sector, I realized that I could truly commit to thoughtful design through spatial arrangements.

IA: As a fresher you must have had to make 03 compromises.

What were the principles you stood by and continue to stand by today?

DK:

Throughout my career, I’ve always been guided by what I believe are the principles of good architecture – something that solves pragmatic problems but also manages to elevate, enable or heal the soul.

Architecture School had a student each from 1st to 04 5thIA:yearIf ofyouarchitecture, what individual advice would you give them?

DK:

Stay perpetually open to new ideas, find someone you admire and learn from them. But beyond that, always design what resonates with you.

By doing so, you will possibly be lucky enough to create something genius.

IA: Universally, what are the key points that

05 every student should keep in mind and focus on developing themselves in architecture school?

DK:

Always keep learning from everywhere and everyone, within the architectural community and outside the community of architects

DK:

I think every student should have experience working in an actual office, and if possible physically building something. While school is important, nothing can compare to real world experience.

Can you sum up your inspiring journey in 08 a IA: few words?

DK:

My inspiration comes from everywhere, but most often f rom art, nature or vernacular architecture.

I’m interested in addressing the conditions of the soul and if I also achieve something aesthetically pleasing then I’ve managed to pull off something magical. Something clicks and you know you have done something beyond yourself. With the GYAAN Center, I wanted to create something that resonated with the soul of its people.

IA: How do you think you have grown in all 09 these years of practice?

DK:

I think I have grown by continuing to take on challenges that are outside of my comfort zone.

GYAAN Center was the most difficult project I’ve had to do thus far, but it is also the most gratifying. It was definitely worth the struggle, as it has resonated with people far beyond what I had expected. I hope to continue to grow by challenging myself more and more as the years come.

IA: What are your thoughts on feminine 10 architecture?

DK:

As a female architect designing for women at the GYAAN center, I looked at feminine symbols across cultures and specifically symbols of strength. As seen in this project, I believe that feminine architecture can empower underserved communities, such as the girls in Jaisalmer.

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IA: What’s your take on less paid internships

these days?

IA: Young professionals often get swept up 15 into accepting projects they may not like for

fear of saying too many NOs in the end being essentially project-less. How does one keep balance of what to say no to, what projects to take up, how to attract the clientele they want?

DK:

I have mixed feelings about this. I have a small office so interns are always useful. However, as a small team, training interns take a lot of time and effort. Oftentimes, it actually costs me money. On the other hand, I believe strongly in mentoring inspired architects who want to use their skills to affect social change.

IA: What are the major issues which you 12 think can change the course of architecture and what can be done to prevent them?

DK: An issue I constantly think of is what I refer to

as the ‘McDonald’s of architecture,’ where developers will wipe away elements of place and culture for the sake of making people feel comfortable. I constantly advocate for the opposite of this – we need more spaces that define and uphold culture for the sake of connecting to ourselves.

DK:

When you start as an architect, it’s hard to determine which projects are right for you, because there is a pressure to take any project that comes your way. I believe young professionals should take advantage of every opportunity they can get. But once you have established yourself more, start taking projects that truly resonate with you. Follow your gut instinct, there are no rules. Every situation is different.

I have now worked long enough so I can see the troublesome ones a mile away.

Culture and Architecture IA: It is very evident from your work at the 16 Ratnavati School that you have completely

immersed yourself in discovering the culture of India, and Rajasthan in particular. Talk us through the moments of elation and the culture shocks that you’ve experienced on the way.

Professional Practices and Career As a young intern, what mistakes should 13 beIA:avoided and what should be one’s mindset and focus while interning?

DK:

Don’t make the mistake of rushing into things. You are there to learn, begin with humility, don’t expect to design anything. Your job is to listen and observe. Every experience shapes your career, even if it is in the smallest of ways. And often, chance encounters may lead you to something great.

IA: When is someone essentially ready to 14 start their own practice? OR What are the tools that one must have before starting their own practice?

DK:

There is no one size fits all answer. Right after graduate school, my family’s house burnt to the ground. I helped rebuild the house. It was my first commission and the project was well received, after which many residential projects followed. Shortly before starting my firm, my grandmother passed away and left me enough money to cover my living expenses for 6 months. I went for it, and was lucky enough that it worked.

DK:

The desert climate was completely foreign to me and presented physical challenges that were often very tiring, like sunstroke and dehydration, on top of jet lag. While completing my work in India, I learned the concept behind the expression, “Atithi Devo Bhava” or “Guest is God.” Consequently, it was a struggle to resist the hospitality of so many people as I had limited time and lots of work to do. Fortunately, this was a wonderful problem to have. Moments that I’ll always remember were the initial public reaction.

Many of the local craftsmen who worked on this project have daughters who are or will be attending the school, creating a special bond between the space and the community. It really was a great feeling to see how proud they were of this project.

17 DK:

IA: Tell us a bit about your process of understanding the Rajasthani culture, especially through the architectural lens.

To immerse myself in the design of the school better, I traveled to Jaisalmer around 18 times throughout the design and construction process.

I worked with a group of locally based craftspeople and contractors to build the school and became f riends with many people in Jaisalmer. It was immensely helpful to understand the region better f rom teachers, textile merchants, royal families, local hoteliers, and entrepreneurs. I also drew inspiration f rom the nearby Jaisalmer Fort, the 2nd oldest fort in Rajasthan.

IA: With technological advancement, IA: According to you, what really is the 20 indigenous 18 true craftsmanship and construction significance of cultural representation in buildings and the end it can achieve?

DK: Buildings that are respectful of different

cultures are an opportunity to promote the crafts and qualities inherent to the region where the buildings are located. Spaces that emphasize inclusivity and cultural representation have the power to heal and nurture the soul and transcend from merely a design to a space that imbues joy.

IA: In the modern scenario of a fast-paced 19 lifestyle where the past is so easily forgotten and cultural identities are getting more diluted, what role can architecture play in reinforcing a sense of cultural pride and sensitivity?

DK:

Architecture can be an immense source of pride in any community, and by creating something that speaks to the local people of Jaisalmer, we were able to create something that was integral to Jaisalmer’s architectural identity. Even through the pandemic, I was committed to working closely with the local craftsman in Jaisalmer throughout the project to preserve the culture of the city. Ultimately, I feel that by aiming to reinforce the local culture throughout the design, I was able to create an outcome that honors it, and that everyone in the community can feel connected to, not just the girls that attend the school.

skills dying out, how can architects step up to the cause in such a context?

DK: I felt strongly that I needed to build according

to the local traditions, and worked with a group of locally based craftspeople and contractors to build the school. Although I was often told that it was better to source things like lights and furniture from cities like Mumbai and Delhi, I felt very strongly that working with the local people would bring an essential engagement of locals to the project and also provide a sense of pride. I would encourage other architects to build out their teams in a similar way. I believe that architects should be studying the techniques of local cultures and employ those that know how to execute them properly. We can all learn f rom cultures that have century-old buildings still standing today.

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GYAAN Campus

was Rajasthan selected as the site 23 forIA:this Why project?

IA: Can you explain a little about the concept 21 and background thought for this school?

DK:

DK:

The GYAAN Center was built to improve the lives of the community. Local craftsmen—often the fathers of the girls—built the school using local sandstone, and soon two more structures will be erected: The Medha - a performance and art exhibition space with a library and museum, and The Women’s Cooperative where local artisans will teach mothers and other women weaving and embroidery techniques from the region. It was imperative that we incorporated authentic cultural elements, so the Center was a true representation of the region and its members.

Why have you chosen an oval shape for 22 theIA:design?

DK:

Since the GYAAN Center is designed by a woman for women, I looked at feminine symbols across cultures when starting the design process – specifically symbols of strength. I landed on a structure of three ovals to represent the power of femininity and infinity. The elliptical shape of the structure also helps bring aspects of sustainability, creating a cooling panel of airflow, in addition to passive solar cooling where temperatures peak close to 1200 F.

The site of the project was selected by the CITTA Foundation India, which commissioned my team to work on this project as a way to help improve the literacy rate for girls and women in Jaisalmer. The city was selected for its female literacy rate, one of the lowest in the country. I wanted to make a building about space and light and community and not about design - a structure that resonated with the soul and enforced the natural energies to nurture and heal the women and girls of Rajasthan.

How did you tackle the adverse climate 24 ofIA: the state?

DK:

Multiple elements of the building aid in creating a natural cooling mechanism to tackle the extreme heat in the region: the oval shape, solar canopy, and courtyard structure by creating a cooling panel of airflow, while the jaalis wall increases wind speed and cools the temperature due to the Venturi effect, and filters out sand. The use of local sandstone reduces the carbon footprint and the inner layer of limestone helps to insulate and cool the building, while the strong sandstone provides protection from extreme heat during the day and warmth during evening hours. Additionally, the oval shape of the building enhances cross ventilation within each room, with maximum wind velocity in the main corridor to the classrooms. High ceilings and high windows also allow cross-ventilation within the rooms.

IA: How do you think an architectural space 28 can empower an individual’s sense of being?

DK:

I wanted to create a structure that resonated and would nurture and heal the women and girls of the nearby villages. By focusing on how we could empower the girls in the community, we created multifunctional spaces, such as the solar-paneled shading canopy on the roof of the building, which served as both a play structure for the girls and a screen that would shield them for modesty, allowing them to feel free to run, play and be themselves without fear of onlookers. Many of the contracted craftsmen were fathers of the girls set to attend, adding an additional layer of community to the project.

IA: What were your research techniques 25 included while building this project?

DK:

A main part of my research process was getting to know the people of Jaisalmer and studying their own architecture. In order to create something that the community was proud of and excited about, I tried to immerse myself in the culture of the area. I traveled to Jaisalmer many times throughout the process. After studying the building typology, I sought out architectural features unique to Jaisalmer to make the children feel comfortable in familiar surroundings. We also worked with local engineers and craftsmen to help re-create the ancient techniques the community had already been using. For example - We reffered to an ancient water harvesting techniques to capture the rain off the roof and courtyard for use throughout the school.

IA: What alternative materials do you think 26 could have been used to build such a project?

DK:

For this project, the local stone was essential – I don’t believe alternative materials would be able to have the same impact. The local yellow sandstone was used for almost everything. Items that may have been metal or glass like the grates and window transoms were all stone. I wanted to embody the lowest amount of energy, so the use of local materials was the obvious choice.

IA: How could this school help change the 27 perspective of society?

DK:

The project GYAAN Center is a prime example of how a well supported and empowered community can create powerful rippling effects in bringing about a change in society and accelerating progress.

The importance of girls’ education should not be overlooked, as investing in girls’ education leads to outcomes that can only benefit society. The world still revolves around men, but projects such as this one help to take steps to further our global society.

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IA: Space visualization in 2D or 3D DK: First 2D, then 3D.

IA: Historical monuments or contemporary architecture DK: Both.

IA: The design studio or field visits.

DK: Field visits.

WOMEN for you is ..........

POWER

ARCHITECTURE for you is ..........

LIFE

CEMENT for you is ..........

NECESSARY

INDIA for you is ..........

LOVE

FUNCTION for you is is ..........

VERNACULAR for you

IMPERATIVE INSPIRING

IA: The drafting board or software DK: Board and software they

inform each other in different ways.

IA: Handmade models or 3d models DK: Handmade so your

body can understand the actual scale.

IA: Early bird or night owl DK: Either, depending on

when inspiration comes.

CONCEPT for you is..........

ESSENTIAL

MATERIAL ..........

APPROPRIATE

BUILDING TYPOLOGY..........

INFORMATIVE

CULTURE for you is..........

GUIDANCE

SHORT TAKES

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Khushbu Raghav

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/pi.lc.ti/

P i lot i s It’s just the pillar, don’t get confused over the name.

kaa-fee

COFFE E The saviour.

/sli:p/

SLE E P Something you won’t get until you are finished with your submissions

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/ˈkays stuh·dee/

CAS E ST U DY Do it or you won’t be able to start your design

ST U DY TO U R The best part of architectural life; where you do everything except study

MMENDS . TH E A CO R RE C H

RCH RECO A E MM TH .

EN S D DS EN M

H RC

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SONGS 30

. THE AR C H NDS R E ME C O M OM EC

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THE SHADE

REX ORANGE COUNTY

ARCTIC MONKEYS

HARRISON STORM

FEELING YOU

SOMETHING DIFFERENT THE CHAINSMOKERS

LET’S FALL IN LOVE FOR THE NIGHT

FINNEAS

DO I WANNA KNOW?

THE HEIGHT OF GREEN

Ken Yeang Interviewed and Curated by Nayani Pandit, Ambika Kannu, Lipika Pandey and Tushita Basak

Ken Yeang is a pioneer architect in ecology-based architecture, planner and author, best known for his eco-structures that fully embrace the green world.

Mr. Yeang, who started his valued works as early as the 70s, is one of the founding figures of bioclimatic skyscrapers, vertical green urbanism and sustainable design. It came as no surprise when he was named “one of the 50 people who could save the planet” by The Guardian newspaper.

Introductory Questions 01

Ecological design is a design based on the science of ecology. It seeks to remake existing built environments (and technologies) into human-made ecosystems that, by being ecosystem-like, can biointegrate seamlessly and benignly with the natural environment. Achieving as close a mimicry as possible is the challenge of ecological design.

KY:

ecology?

IA: What is ecological design?

KY:

02

IA: How and when did you first realise that 03 architecture shares a strong relationship with

IA: Why ecology?

Ecology is the baseline environmental and planetary context within which all human acts and activities have an impact. Human acts and activities include building (construction), industrial production, energy and food production, mobility systems, and others. The ecology of a locality includes its ecosystems, biogeochemical cycles, and all species and their environments that all constitute the environmental baseline upon which all impacts are assessed. As such, the ecology of any locality must be a crucial part of architectural design.

KY:

It was around 1997 when I started working as a research assistant on the “autonomous house’ project under John Frazer and Alex Pike at Cambridge University. The autonomous house was an idea mooted by Buckminster Fuller for a house that functions without connections to the city’s utilities or grid. Since then, ecological design has become my life’s agenda.

IA: Why must an architect also be an 04 ecologist?

KY:

An architect must be an ecologist at the same time, as everything he makes has a consequence on the natural environment of his project site’s local ecology, including all of its natural systems and the biogeochemical cycles of the planet.

IA: What differentiates ecological design 05 from green design?

KY:

Ecological design is a design that seeks positive ecological outcomes, whereas green design can be technology-driven and may have negative ecological outcomes on the planet. We need to synergistically transform our built environment into (human-made) ecosystems as constructed ecosystems.

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IA: Why is the making of our built IA: Where do you see the architecture of 06 environment 10 modern-day into (human-made) ecosystems heading in the next 10 years down as constructed ecosystems ecological design?

important

in

KY:

The rationale is that the built environment, as human-made ecosystems, becomes no longer an alienated structure from the ecosystems in nature but an integral part of them.

IA: What distinguishes structures built 07 according to these principles from those that don’t?

KY:

Designing, making, and recovering built systems (I’m lugging the production of artefacts and energy and food), and all technologies, must be guided by the science of ecology to be human-made ecosystems that emulate, replicate, and augment ecosystem attributes to be integrally synergistic with the natural environment. The existing built environment is alienated systemically and, in most urban instances, physically disparate from the ecological system in nature.

IA: How does eco-design relate to 08 certification systems such as BREEAM, LEED, etc.?

KY:

Certification systems such as BREEAM, LEED, and others are excellent checklists of criteria for green design, provided they are not rigidly prescriptive but performance-based. The designer must place priority on the natural environment over technological systems and seek to achieve positive ecological outcomes. Generally, anything that is positively beneficial and not detrimental to the natural environment and human society should be relevant.

IA: Which of your projects do you feel is your 09 best one?

KY:

I have no single best project. All of my projects are essentially built as experiments to test ideas and advance the field of ecological design without negating the project’s design programme. As with all experiments, some are more successful than others. but we learn from the outcomes to advance the field of endeavor and lead to further experimentation. This is the nature of the scientific hypothetical-deductive approach(hypothesis-experimentation-discovery advancements).

the line?

KY:

I’m not sure where we’re headed, but I hope we’re heading toward a resilient future for human society and for all species and their environments on the planet.

11

IA: What are the areas of ecodesign that need further development?

KY:

There are huge areas for investigative work, discovery, and invention in ecological design, such as achieving artif icial photosynthesis or large-scale treatment and absorption of pollutants, emulating the production of ecosystem services, designing for disassembly for reuse or recycling, and other aspects.

IA: How expensive is it to build and further 12 maintain an ecological building compared to a normal one?

KY:

Much depends on the level of greenness that one seeks to achieve and can afford. Likely 10–20% above industry cost standards for a particular building type to achieve the highest level of conventional rating systems, but not sufficient to be truly authentically ecologically green. For example, smart AI systems can be used to reduce costs and maintenance.

IA: What could be some of the cost-effective 13 ecological strategies that can be retrofitted in the houses of today?

KY:

Design can enhance local biodiversity by increasing vertical and internal landscaping. It can reduce the abiotic content of the existing built environment and enable a healthier aerial environment through phytoremediation; save energy and water which enhances human health and wellbeing through biophilic design.

IA: Apart from landscaping, what are the 14 other ways to make any building ecological?

KY:

I am of the opinion that green walls and landscaping are the superficial aspects of green design. A true green stomatal, Ubto mimir; replicas and augment ecosystem attributes to create habitats in built-in systems and seek to become constructed ecosystems. It must bio-integrate the following factors to become whole systems: nature (the natural environment and life within), the built environment (buildings, technologies, artifacts), hydrology (water management), and energy systems.

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IA: While green walls are a beautiful and 17 15 aesthetic element, they are believed to be extremely demanding and high maintenance.

Is that true? If yes, what measures should be taken to ensure them being self-sustaining?

KY:

We refer to the costs as the ‘gardener index’.

I usually ascertain the number of gardeners needed to maintain the built system’s landscaping. The cost of maintenance is simply the gardeners’ salaries and landscape replacements. This similarly applies to the building’s engineers, who are needed to oversee the physical and operating systems.

IA: Ecological buildings contribute to 16 reducing the energy consumption of a building, but can an ecological design alone achieve net zero building?

KY:

Based on current technologies, we should be able to achieve near-net-zero energy with systems that can depend on the local availability of renewable energy sources and effective technologies with minimal embodied energy.

IA: How can buildings be converted into living systems through ecological design?

KY:

We need to identify the ecosystem properties that we need to replicate, emulate, and augment.

The techniques and technologies for many of these are still in their nascent stages. We need to design, make, and remake existing and newly built systems and structures to become human-made ecosystems with bio-integrated habitats to provide ecosystem services.

IA: How can we repair and regenerate the 18 biodiversity of ecologically devastated barren urban environments?

KY:

We need to study the ecology of the locality to ascertain the fauna that is not hazardous to humans to selectively bring back to the locality. We need to create habitats within the built environment and include the flora species for the habitats that will attract the fauna to design the entire built system as a complete and whole constructed ecosystem.

Achieving this to the utmost is the challenge in ecological design.

STUDENT ENTRY

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The Details

Vishwajeet Walvekar

/nAWth/

N O RT H The thing architects forget every time.

/kOnsEpt/

C O N C E PT To be derived after the design is done.

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NASA I n d ia The community for architecture students that can understand their pain.

[DED] + [LYN]

D EAD L I N E The only thing that can make you work on your design.

MMENDS . TH E A CO R RE C H

RCH RECO A E MM TH .

EN S D DS EN M

H RC

OMMEN C E R DS CH R .T A HE E H A .T

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Scratching the Surface

Talking Practice

GSAPP Conversations

99% Invisible

Material Matters

A b i g intern

HARISH K.V. Interviewed and Curated by Nayani Pandit, Lipika Pandey and Tushita Basak

Harish Karthick Vijay is an Undergrad Architecture student f rom BMSCA Bangalore, working as a Sustainability Intern at Bjarke Ingels Group, Copenhagen. He has profound interest in building physics, performative design, and design computation, and specializes in using a combination of these to address embodied and operational building energy in his work. He also works as a part-time content writer and editor with the emerging platform aec+tech, where he writes about technological innovations and new tech products.

Introductory Questions How would you summarize your journey adopted to optimize its energy usage. These were more 01 upIA:to this point? dominant questions in my head rather than following

HKV :

I am currently a sustainability intern at Bjarke Ingels Group. I applied for this position last year in March 2022. For a month or I received no response, so naturally, I assumed that my application was rejected, But one random day I unexpectedly received a mail inviting me for an interview, and the next day, I was called for another round of interviews.

This was followed by an offer letter the very same day for what was initially supposed to be an internship for 6- months. I regret not applying anywhere else as I got in early. However, I do not regret being a part of BIG. After I joined here in August to complete my 6-month internship, they asked me to consider continuing my position here for another year. So, I am continuing with BIG for another year and will continue with my 10th-semester thesis in 2024.

a particular style or a series of spatial organizations which is taught in college.strategies to be adopted to optimize its energy usage. These were more dominant questions in my head rather than following a particular style or a particular series of spatial organization which was taught in college.

IA: Where do you see yourself in the next 5 04 years?

HKV :

I have studied architecture for about four and a half years now, and I don’t think I want to pursue a career as an architect. At BIG, Copenhagen, I work as a sustainability intern in the sustainability department, and I would like to explore more in this area.

IA: What is the most important lesson you 05 learned at BIG?

IA: What does it take to get into BIG? What 02 was HKV : your portfolio like and the idea behind it?

HKV :

As I mentioned earlier, I am on the sustainability team. I had previously also taken up the LEED Green Associate Exam. It is a first Level professional credential, and when you study for it, you learn about what it means to implement building performance practices in an actual project.

So besides that, I am also very much inclined towards using environmental simulations and passive design strategies informed by these simulations. So those were the most predominant projects in my portfolio.

Other than that, I am also interested in computational design, using logic to solve design problems through scripting and coding. I would say I was always more interested in the rational side of architecture, and that is how I framed my portfolio, expressing my work philosophy and area of interest, which is what I believe they liked.

To collaborate. I learned to work with everyone within and outside my team and support my team through thick and thin.

If one wants to apply for BIG, what are 06 theIA:criteria?

HKV :

Here we have Two types of interns: 1. Design intern- who works on design iterations and is expected to solve large-scale design problems.

They work in the concept, schematic, and design development phases but not so much in the construction document phase. They create visualizations, create updates, and presentations for major submissions.

2. Construction Architect, who works on the nuances of the actual construction work in BIM. They sort and create good-for-construction documents and details required during building construction

IA: If someone is interested in IA: At this point of time what do you like 07 understanding how the construction industry 03 most about yourself, be it in terms of work or personality or anything else that might seem relevant?

HKV :

Throughout my journey till now, I am most proud of being critical at all times. I never accepted the conventional way of doing things rather, I would analyze them multiple times. I could even say that I was a bit rebellious. I was not ready to accept architecture for aesthetics and function alone. I wanted a deeper reason for making design decisions, for example, how a building should be put together in a way that it can perform the best in terms of its location, and what passive and active strategies to be

works alongside designing, what position should they apply for?

HKV :

They should focus on applying for firms that engage in such work and also, encourage interns and junior architects working in these fields. Reach out to people within the firm who possess the expertise for the same. I’d suggest one undertake some research before applying.

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IA: What is required in a portfolio of a IA: You have also worked as a computational 10 computational 08 designer. designer?

What was your experience and what does it take to become a computational designer?

HKV :

Computational design is across multiple scales. It is using logic and a little rationality in solving a design company. Previously I worked in a robotics fabrication where I was working on creating a design configurator for a prefab construction unit. The design configurator was to be a grasshopper script, and my job was to make scripts that could, in the end, put out a prefab building component based on inputs that can be customized.

HKV :

I’ve seen several people create their portfolio on computational design where they only use Grasshopper to create fantastical forms. If one is interested in getting into this field, one should start applying it to solve real-life problems. So start using it in your architectural design projects. Try and incorporate environmental design simulations to evaluate your building’s performance. The dominant questions in my head were about strategies to improve building performance rather than following a particular style or series of spatial organization which was taught in college.

IA: What’s the opportunity and scope in 09 computational 11 design in the next 5-10 years?

HKV :

Computational design is practical and convenient as one only needs to figure out the logic to put out a particular geometry. This can be used repeatedly to recreate the geometry in different scales and profiles as per requirement. So a prefab design is an area where computational design becomes super important. Structural engineers, these days, use a lot of computational design as it immensely helps in optimization. I currently work on running building performance and environmental simulations to check the building performance in terms of heat gain and cooling loads. These are extensively used in green building certifications. Beyond these, there are more applications of computational design, maybe not directly in solving design problems but in helping you solve a design problem more easily and efficiently computational design across multiple scales. It uses logic and a little rationality in solving a design company. Previously I worked in a robotics fabrication where I was working on creating a design configurator for a prefab construction unit. The design configurator was to be a grasshopper script, and my job was to make scripts that could, in the end, put out a prefab building component based on inputs that can be customized.

IA: What will be your most conscious answer to the tug of war question about the role of softwares and computational designs in creating human centric and sensitive architecture?

HKV :

It is not an either-or question. Go for both, as both are important. The software will save you a lot of time, but that doesn’t essentially imply that one gives up on designing with sensitivity. So make the best out of both worlds.

12

IA: You have LEED certification.

So, how does one get it?

HKV :

So LEED is the most commonly used green building certification system in the world. It’s a three-tier credentialing system. So the first tier is a Trained Associate, and students can pursue it. You have to just study for the exam and then take up the test later on and then you become the LEED green associate. After that, if you want to get deeper into the field, then you can go for the second professional credential, which is called the LEED Accredited Professional. So there are five different types of that second level. You can then become an advocate for green building practices. The third one is called the LEED Fellow. You have to have like 15 years of experience to become that.

IA: How do you think architectural 13 journalism shapes architecture as a field?

HKV :

Architectural journalism, currently, is more about broadcasting the developments in the industry to a larger audience who may or may not be architects themselves. So when you write for such an audience, you have to explain things in a more downto-earth way that anybody can understand. And architecture, as a profession and as an industry, is also dependent on the recognition that such media give them. So it is a symbiotic relationship.

What would be your suggestion to Finally, what according to you, are the 15 5 IA: 14 a IA: student, like if someone wants to get into MUST Do’s for architecture students before architecture journalism?

HKV :

You just start writing, I guess. And before that, you have to have something to say, and to have something to say, you have to be aware of what goes on in the industry. For that, you have to read. And Besides reading, you have to keep yourself updated about what’s happening around you. What kind of projects get built every month, how similar they are to each other, how different they are from each other, how exactly the aesthetics relate one to the other, and how different they are based on where they’re located.

What kind of technologies they’ve adopted, and how they’ve solved a particular problem.

Source : University of Kent

graduating.

HKV :

Question what you are taught, be critical, and don’t accept things as they come your way. Know why you are doing what you are doing. Do not forget the big picture and constantly take a few steps back and see what you are doing and how it is going to help in the final results and then go further and refine the way you are doing it. Stepping back matters a lot, especially knowing when to step back.

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STUDENT ENTRY From The Window

Sajeela Rizwa

STUDENT ENTRY

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The Prep

Ponnuru Akhil

Vanshika Kapoor

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How Architecture Travels?

052 - 053

La Vie en Monotone 054 - 055

BAUHAUS:

A HISTORY OF MODERN ARCHITECTURE

058 - 063

The Beloved Veteran “Doshi” 068 - 073

50

01 02 03 04

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HOW

By Khushi Gupta

ARCHITECTURE

T

TRAVELS ?

he twenty-first century has brought a paradox with it, the world is expanding more and more every day yet somehow it’s shrinking with each passing night. While we have toyed with the boundaries of what is possible and grown our perimeter over space, we also have increased the pace of how fast data, materials and even human beings travel. This increase in speed of transportation has led to the world feeling a little smaller. Ideas that took decades and centuries to travel, now can be communicated in minutes if not seconds.

In this new “globalized” world, people live similar lives irrespective of what part of the globe they reside on.

Even architecture doesn’t seem to have been safe from the claws of globalization. Cities have similar urban landscapes and it is hard to differentiate a building from Japan and the USA. Architecture at its most raw form can be broken down into design, the context, innovative technology, and aesthetic.

Globalization has brought all of the world to the same page for most of these sub-criterions.

Though architectural travelling has always been true to some extent. Like all trades, architecture has been bartered, and exchanged throughout history, like all arts, it has been shaped by global events, and like all crafts, it has been honed by craftsmen to the best of their capabilities.

The first instances of architecture travelling can be seen during 300 BC when building materials were transported to and from Greece to South Asia.

The silk route played a prominent part in shaping architecture around its regions. Pagodas travelled from East Asian countries to central Asia. The Greek classical ideas of human proportion and ideal form were traded with asian countries in exchange for their rich building materials and sturdy construction techniques. Slowly and steadily each region shaped another’s architecture unintentionally and with sleeves of coins, architecture was also bartered.

The next prominent change can be seen in the 19th century when the East clashed with the West, in art nouveau. The 19 th century encouraged a lot of artists and revelers to visit East Asia for the first time.

Upon embarking upon the beautiful, ornamented architecture of the east that seemed to be whispering a story, the Europeans were inspired. Thus, art nouveau was born to envision Eastern ornamentation and symbolism in European architecture.

On the flip side of the coin, Eastern countries were facing colonization f rom the West. The Europeans who were hell-bent to set up homes in their colonies, forced their ideologies and rule here. Again, both by force as well as agency the architecture of the world was changed.

During this time the industrial revolution also began to pace up. Instead of people, machines began to churn out precast and prefabricated building components at a rapid rate. The industrial revolution again shrunk the world, and with development of aviation and motor technology led to the transfer of knowledge faster than ever. The world at large was opened to all sectors of the population and this led to the birth and rise of internationalism.

Unfortunately, the twentieth century also brought an onslaught of wars, and the world was razed to its core. Civilizations were uprooted and cities were destroyed. This grim and grave context gave a blank canvas all around the world for a new bolder and more practical aesthetic. These styles were initially accepted by Eastern nations initially accepted these styles and then traveled to Europe and much later to the Americas. This style of architecture focused on creating buildings faster, heavy and large.

Finally, with the boom of the internet, the world had access to unlimited knowledge at lightning - fast speed. Aesthetics that was once niche and secluded, became popular and universal. The world was no longer separated by boundaries and physical distance, this shrunk the world to the palm of our hands and allowed ideas to be exchanged globally and paint the world in similar colours. The global aesthetic was brought on the same page, and this was reflected in the architecture as well. The buildings stayed physically where they were, but the ideology and spirit of the design could now travel all around the globe!

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illustration by Adviti Damodar

La Vie en By Nayani Pandit

Monotone ‘I wandered in search of new

J

ohan Huizinga, a Dutch historian once said, “If we are to preserve culture, we must continue to create it.” His words serve as a wake-up call to anyone willing to listen today among a generation lost in the charisma of globalization, unrealizing the fact that it is doing more damage than good to its existence in history.

India has always prided itself in its documentation and preservation of traditional knowledge through an imperial system of transferring data, which has worked remarkably thus far. Unfortunately, the practice seems to be coming to an end with us.

Although we preserve, conserve, and respect history and cultural identity, we do not seem to be doing much to create one of our own.

While globalization has numerous advantages, the local arts, crafts, and traditional industries had to bear their brunt severely. These industries have managed to survive its impact due to their small scale and time of implementation being comparatively lesser, but other industries have not been so fortunate, such as construction and architecture.

Along with the chaos of World War II, the introduction of steel during the industrial revolution and the initiation of large-scale production of cement also came. The former created a demand for fast-paced and rapid development of infrastructure, and the latter two obligingly acted as crucial tools and served those demands. They were allowed to thrive unchecked for years, globally, providing them with an unhindered opportunity to set shop and establish their monopoly across the globe. Its effects on place identity and characteristics were severe.

Globalization has stripped the world of any sense and all sense of uniqueness and individuality, foregoing any sense of distinction among it. This sensitivity does not come easily but rather develops over time.

For the author, it came in the winter of 2019, during a trip to Orissa. The most remarkable memory was an incident where she crossed an under-bridge and exclaimed, “Hey! We were here last month for the ‘Anganbadi’ project.” From beside her came a laugh, and her friend replied, “Madam, we are in Orissa, not Jabalpur.”

horizons and colors of the world, only to discover that the world was monotone with only the colors of conflict adorning it.’

This account highlights the fact that although India has put effort into preserving its historical heritage, food, art, and culture, it has not stopped acquiring the knowledge of creating history along the way. The author visited Karnataka, Tamil Nadu, and Rajasthan, all of which solidified this knowledge that architecture today is limited to a few materials and planning, design, and structures that are not even suitable for India’s climate and living conditions. This leads to a lack of contrast between states in terms of building aesthetics and design, resulting in disappointment for those in search of the character of a city.

With the except for a few towns and cities like Jaisalmer, where residents have preserved the ancient tradition of vernacular homes and follow it even today, the rest of the country has built structures that convert lush green pieces of land into jungles of concrete. A recent article f rom TIME Magazine titled “Western Architecture Is Making India’s Heat Wave Worse” talks about how modern buildings have affected the climatic conditions of the country and its severe effects on daily life.

However, it is not enough to criticize the current practices without understanding the leverages that provoked them rather, finding solutions that are realistic and suitable to the economy and environment through awareness, education, experimentation, and innovation. Blindly following old vernacular practices that are outdated and impractical is not the solution.

Finally, it needs to be understood and emphasized that this evolution is a necessity for a peaceful and healthy liveable environment and not entirely an emotionally motivated social cause and the result of these efforts would by far surpass any inconvenience that may arise in finding a solution by drastically reducing electrical, cooling, maintenance costs- minimizing construction and material costs due to use of local and flexible material and maximizing safety not only of residents but also of the construction workers.

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illustration by Aarthi Reddy

/səbˈmɪʃ(ə)n/

SU BM ISSION The product of sleepless nights.

[maw·dl]

Mode l The structure made out of your blood.

[pin·tuh·rest]

P I N T e R E ST The God of inspiration.

STUDENT ENTRY

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City of Dreams

Shashank B K

BAUHAUS: A HISTORY OF BAUHAUS: A HISTORY OF

MODERN ARCHITECTURE

By Bhagyashree Dongre illustrations By Adviti Damodar

MODERN ARCHITECTURE

T

he Bauhaus (originally Staatliche Bauhaus) was an art and design movement which brought about a radical shift in the perception of Design Education.

An antecedent to the popular International Style, the Bauhaus is noted to evolve the ideals of Design Thinking to adapt design processes with the new, modern, evolving industrial world.

Beginning as a German art school in Weimar in 1919, the Bauhaus had staunch ideals, much akin to a design proposal with clearly formulated details. Together, they aimed to achieve a coherent unity between all kinds of arts (and artistic skills therein), including the Fine and Applied Arts.

Walter Gropius, its founder, and a visionary architect, realized the need to merge hands-on learning with the innovative ability of modern processes, trusting only this integration to create designers at par with the developing world and bring the merits of industrialization to complete fruition.

THE SCHOOL

THE SCHOOL

T

he school’s Manifesto mentions a set of ‘Main Principles’ which were to guide its pedagogy. Further on, they also characterize the Bauhaus Movement, and subsequently, the International Style.

Though each principle defines a distinct idea, together, they aim to unify the modern designer’s artistic vision with an emphasis on function and combine the design processes with the fundamentals of mass production.

Being rooted in minimalism, the school’s philosophies helped designs remain true to their function. When applied in architecture, they helped highlight every facet of a building, since when a building could be seen so bare, with all its components shining in their candor, it must’ve put forth a certain individuality.

Thus, a Bauhaus mind sought a sophisticated coherence between varied materials, even so, each retaining its distinct character, creating a natural, well-balanced composition.Though now heralded as the gamechanger in design education, the school’s experimental undertones gave the school an air of abstraction and subjected the management to political pressure from conservative circles.

Consequently, Bauhaus Weimar closed in 1925 and shifted to Dessau (1925-26), in the highly acclaimed building complex designed by Gropius. Now a UNESCO World Heritage Site, it is regarded as one of the earliest epitomes of the Modernist tradition.

OTTE HOUSE (1921-22) OTTE HOUSE (1921-22)

D

GERMANY GERMANY GERMANY SOMMERFELD HOUSE (1920-21) The earliestHOUSE Bauhaus structures were SOMMERFELD (1920-21)

built in the 1920s, by Gropius and Meyer.

Still in a nascent stage, they exhibit the style’s newfound interpretation of the arts, and also showcase the products SOMMERFELD HOUSE (1920-21) of the school’s workshops.

“

“

GERMANY

SOMMERFELD HOUSE (1920-21)

T

he Sommerfeld House is one of the earliest prototypes of the Bauhaus style.

It differentiates from later Bauhaus works by being a completely wooden structure, but holds to the Bauhaus principle of preserving the true nature of the materials used.

The client, Adolf Sommerfeld, was a lumber mill owner and building contractor who specialized in timber structures, and together with inspiration from an arcadian log cabin, Gropius envisioned it to celebrate the materiality of wood. Herein, Gropius’ assertion about wood being the original building material of humankind suggested a primal correlation but guided by the Bauhaus philosophy, they were able to present a radical outcome by using it ingeniously.

Together, these facts help us identify the early Bauhaus ideals of craftsmanship in construction.

Along with the rustic exteriors, the interiors held a profound warmth and style by housing the many workshop products created at the Bauhaus school in Weimar.

While Albers’ huge stained-glass window became a key highlight for the space, Schmidt’s ornamental wood carvings reflected Albers’ crystalline motifs in a pristine way, thereby exhibiting a solemn coherence in different design elements.

esigned as a single-family house, the Otte House is a solitary building that presents OTTE HOUSE (1921-22) viewers with a strong sense of expressionism.

Similar to the Sommerfeld House, even this two-storey villa is f ronted by a single-storey extension for the entrance. It features a second stained window designed

by Albers which, by virtue of its placement OTTE HOUSE (1921-22) above the entrance, renders the tall, dark vestibule an almost sacred appearance. Moving ahead from the subtleties of timber in the Sommerfeld House, the Otte House heralds the sober rationalism of the later Bauhaus.

However, the existence of traditional features (like rust-red wooden window f rames) indicates the style’s gradual progression towards being completely modernistic.

AUERBACH HOUSE, JENA (1924)

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esigned by Gropius and Meyer, the Auerbach House is a stunning testimony to the shift AUERBACH HOUSE, JENA (1924) f rom traditional to modernist design in the Bauhaus Style. It was deemed as the first building to display all significant characteristics of the ‘New Building’, andJENA thus, (1924) emerged as an early AUERBACH HOUSE, prototype of the International Style. However, most of its merits (such as the authentic Bauhaus interior of 37 Pastel Tones) were only discovered in recent times upon attempts to restore the structure.

Its modernityHOUSE, is highlighted the use of industrially AUERBACH JENAby (1924) fabricated materials, as seen in the separation of its inner and outer walls by a layer of ‘torfuleum’ (a kind of linoleum).

Its design is based on a system called ‘Baukasten im Grossen’ (German for Giant Building Blocks), which refers to a three-dimensional composition of interpenetrating volumes, further developed while designing the Masters’ Houses at the campus in Dessau.

This strategy further reflects strongly in the organizational system of the space, as we see the service functions of the house being denoted by a taller volume to the north interlocking with the twostorey volume of the main accommodation, with an asymmetrical shift between them.

Additionally, upon a deeper insight, we find the system to be based upon mathematical harmonic systems, evident in the proportional visual relationships of elevations and spaces.

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BAUHAUS DESSAU (1925-26)

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amous for its splendor and the absolute pinnacle of Modern Design, the Bauhaus building in Dessau is often identified by its pinwheel configuration. Deemed a total work of compositional architecture, its design intended to convey a consolidated outcome of the Bauhaus ideals to the world.

With its clean cubic shapes and large windows, it marked the return of a futuristic Gropius, earlier seen in the Fagus Factory.

The three wings ensure the separation of their multifaceted functions, while the connecting bridges tie their innate architecture.

Highly unconventional for its time, its uninterrupted window glazing suggested industrial innovation BAUHAUS DESSAU (1925-26) native to a factory rather than an academic building with traditional elevations.

Here, the inherent design moves away f rom amplifying the corners of a building and imparts a sense of transparency to the structure.

Since Gropius designed all sections of the building separately, they were united by the three bridges and meticulously evolved into the Pinwheel Configuration we see today. Thereby, the asymmetrical placement of these masses generates a complex form that can only be understood upon investigating the building from all angles.

UNITED KINGDOM

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he story of Bauhaus in Britain unfolds in two parallel narratives.

While both speak of an inherent animosity of the public towards the school’s experimentality and abstraction, they also convey a mild, gradual acceptance of the style.

In the aftermath of Bauhaus Dessau’s closure, its masters – Gropius, Moholy-Nagy, and Breuer were forced to escape the country, leading to a short stay in London before moving to the USA. Gropius collaborated with Maxwell Fry in the design of the Impington Village College built-in 1935 – a mild, gently curved stock brick school set in lovely, tree-filled grounds.

Their second collaboration, named ‘The Wood House’ in Kent was built two years later. Built entirely of timber, it is adorned with oak f rames and timber cladding and is reminiscent of the Sommerfeld House in Berlin. However, it is highly contrasting to the latter in terms of both appearance and spatial organization. While the Sommerfeld House is highly symmetrical, the Wood House forms an L-Shape and has an inclined canopy over the main entrance, adding further character to the facade.

Looking closely today, it seems London is littered with Bauhaus-themed landmarks. Though some are bereft of direct involvements of Bauhaus Architects, the style’s influence is highly notable in their visual identity.

For one, the Penguin Pool is a staunch testimony to the Bauhaus principle of ‘Truth to Material’.

Created by Berthold Lubetkin, the stylization of the intertwined concrete ribbons speaks of Bauhaus’ investment in nature. Though extremely modern, its roots lie in Mohogly-Nagy’s vision of seeing nature as a constructional modern and hence have been amazingly adapted by the zoo’s penguins. Over time, they’ve emerged as a fitting stage for the zoo’s most photographed residents.

Alternatively, 66 Old Church Street at Chelsea is the only London house built by Gropius and was deemed the most advanced building in London upon its completion in 1936. A Grade II listed building now, it is the only large-scale commission made by Gropius after fleeing Nazi Germany.

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he Bauhaus narrative in Australia is one of the European diaspora, where emigres f rom Germany and Central Europe created an enduring influence on local art, architecture ,and design. This migration brought in a crossdisciplinary approach to Australian design schools and created strong Bauhaus influences in the aftermath of World War 2.

Architects like Henry Pynor, Robin Boyd, and Harry Seidler are considered pioneers of the Australian Bauhaus and helped propagate the style via both their inputs in formulating design education in the continent, and their designs.

AUSTRALIA The Rose Seidler House in Wahroonga, Sydney is accredited to exhibit a truly elite Bauhaus design,and is the most famous edifice of the East Coast Bauhaus style.

Built-in 1950 on an area of about 200 sq. meters, it comprises a concrete floor and timber superstructure with glass walls. An extremely sculptural creation, its form gives a calm, harmonious effect in addition to being the governing element in the composition.

Though the open plan generates cubic shapes, the final composition comes out to be asymmetric and is crowned with a flat roof, thereby combining all modernist elements elegant fashion.

Unconventional for its time, it challenged the usual perception of the suburban house and became an inspiration for the modernist trend seen in the following decades.

TEL AVIV

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nown as the ‘White City’, Tel Aviv is perhaps the best place to experience the many moods of Bauhaus Architecture. Home to about 4000 Bauhaus-inspired buildings, it is a modern UNESCO World Heritage Site since 2003.

Following the onrush in its population following the Second World War, the urgent requirement to accommodate 60,000 immigrants f rom Germany led to the inception of a new city built by six German Jewish Architects educated at the Bauhaus in Weimar and Dessau.

Though the buildings preserve Bauhaus’ inherent ideologies of simplicity and minimalism, they exhibit a wide range of creative interpretations with their sleek designs and curvilinear forms. At the same time, they make proper allowances to provide user comfort in Israel’s sunny climate. This is evident by certain additions unique to the Bauhaus prevalent in this region and comprises of • Sun breakers • Massive balconies (help catch the Mediterranean Breeze) • Flat roofs to be used as outdoor social spaces • Smaller windows/ less glass to minimize heat gain Notable examples include • The Shimon Levi House, emblematic of the style and towering as a massive steamship, and • The Thermometer Building with its peculiar yet wise oddly shaped windows, which in perfect alignment with the interior staircase provide sufficient light, and block unnecessary heat gain.

legacy legacy

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THE USA THE USA

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ollowing the school’s closure in Dessau, the USA provided a fertile ground for its pioneers to advance their vision. Thereby, christened the ‘New Bauhaus’, Moholy-Nagy founded a new school in Chicago, which ultimately laid the foundations of the Illinois Institute of Design in 1949.

The country’s foremost Bauhaus buildings include the Gropius House, the Met Breuer by Marcel Breuer, and Mies van der Rohe’s many creations - including the Illinois Institute of Technology, the Seagram building, and the Farnsworth House.

It was here that the Bauhaus style began even stronger to progress and become identified as the ‘International Style’. As it came to notice for its flexible open plans and daring designs which adapted to the needs of the modern man, its fame rose to new heights and has directed the world as we see it today.

While Breuer’s versatility gave distinct characters to the many public spaces he designed, Rohe’s close association with nature and absolute bare minimum ornamentation in the Farnsworth House have greatly influenced the way we perceive design today.

The MetLife and Seagram buildings certify the freedom that the Bauhaus experienced in the USA, and its transition speaks of a unique congruence of the many ideals that its masters had envisioned long ago in Weimar.

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hough movements fade, those rooted in firm ideals often stand the test of time.

The Bauhaus School, being both comprehensive and exploratory, steered design education to adapt to quick changes, and empowered designers to emerge as the leaders of a transformative world. Additionally, it helped formulate Design Thinking which has greatly influenced the world that we see today and has led to the integration of art into our everyday lives.

From its emergent days in Germany to the transitory phases in the UK and US, the Bauhaus philosophy worked in distant lands like Australia and Tel Aviv, forging a global identity that now guides designers across the world.

Thus, by creating an impact that encompassed multiple spheres, the Bauhaus created founders, artists, urbanists, scientists, and designers, greatly impacting modern art, design, and architecture.

A rich legacy as this, its centenary in 2019 was marked with numerous fests, exhibitions, books, and documentaries, and has only revived the sentiment of creating a world of equality and contentment.

The Bauhaus influence can be seen nearly everywhere, f rom furniture design to the glass and steel offices towering above skylines, only exemplifying further how, even 104 years ago, its ideas were truly radical.

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Project Japan: Metabolism Talks

Rem Koolhaas and Hans Ulrich Obrist

The Architecture of the City

Hot to Cold: An Odyssey of Architectural Adaptation

by Bjarke Ingles

by Aldo Rossi

Architecture Depends

by Jeremy Till

Citizens Of No PLace: An Architectural Graphic Novel by Jimenez Lai

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The Evening Relic

Zainab Jambughoda

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By Lipika Pandey illustrations By Adviti Damodar

iaAaaaEra Article:

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ia aa Article: A Tribute to B.V. Doshi

A Tribute to B.V. Doshi

I hesitate calling myself an architect because the more I think I know what architecture is, the less I feel I know about its true calling.

2023 started with a massive loss in the architecture fraternity - The loss of the legendary architect, B.V. Doshi. He was not just a name but an emotion, an ideal, a guru, and an inspiration for every architect, and architecture student out there!

Though we can’t ever fill in the gap created by his demise on 24.01.2023 in Ahmedabad at 95. The least we can do is pay a small tribute to this great legend, and pray for his soul to rest in peace!

Early early life Doshi EarlyLife LifeofofofDoshi Doshi T

hese are the words of the humble Balkrishna Vithaldas Doshi (a.k.a. B.V. Doshi). Born on 26th August 1927, in a Gujarati Vaishnav Hindu family in Pune, Doshi lead a life of inspiration.

His father remarried after his mother passed away when he was just 10 months old, and his grandfather, and aunts raised him. He suffered burns when he was eleven years old and developed a small limp as a consequence. Between 1947 - 1950, he studied at Sir J.J. School of Art, Mumbai.

”

TheJolraey Jolraey--Careere Careere The The journey - career, influence, Iafleacee aan hilosoohiess Iafleacee aan hilosoohiess And CollabPhilosophies Collab Collab

“Our tools cannot become our masters and should not rule our lives” After his studies, he went to Europe in 1950 and closely worked with Ar. Le Corbusier. He also became the senior architect for Le Corbusier’s projects in Chandigarh, and Ahmedabad.

By, 1955 Doshi established his studio named, Vastu Shilpa. While Louis Kahn was working on the project of the Indian Institute of Management, Doshi got a chance to work closely with him and Ananta Raje as well.

Doshi DoshiasasTeacher Teacher Doshi As A Teacher

Doshi is well-known throughout the world not only as an architect but also as an educator, and institution builder. He served as the first dean of the Centre for Environmental Planning and Technology (1972–81), founding dean of the School of Planning (1972–79), founding director of the School of Architecture in Ahmedabad (1962–72), founding member of the Visual Arts Center in Ahmedabad (1972–72), and founding director of the Kanoria Centre for Arts in Ahmedabad (1972–72).

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illustration by Vignesh Rao

doshi in media industry It is not known to many people that, Doshi got featured in Media Industry as well. Premjit Ramachandran, who directed Hundred hands, interviewed Doshi for Doshi In Media Industry a documentary that was released in 2008. In Mani Ratnam’s O Kadhal Kanmani and Shaad Ali’s Ok Doshihe In Mediahimself.

Industry Jaanu, featured

recognitions Recognitions The list is a long one when discussing the awards and recognition Doshi received, the following are just a few mentions 1. Recognitions Received the RIBA (Royal Institute of British Architects) Gold Medal, GoUK on June 15, 2022.

2.

Selection Committee member for the Pritzker Prize, the Indira Gandhi National Centre for the Arts, and the Aga Khan Award for Architecture.

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Awarded the prestigious Pritzker Prize in March 2018.

4.

Doshi was also remarked by the Pritzker jury that, he “has always created an architecture that is serious, never flashy or a follower of trends”, and noted his “deep sense of responsibility and a desire to contribute to his country and its people through high quality, authentic architecture”.

5.

Bestowed with the prestigious Padma Vibhushan, GoI, 2023, Padma Bhushan, GoI, 2022, and Padma Philosophies Shri, GoI, 1976.

6.

Conferred the Dhirubhai Thakar Savyasachi Saraswat Award, 2017.

Philosophies 7.

He was also the Officer of the Order of Arts and Letters, France, in 2011.

8.

Awarded with Global Award for Sustainable Architecture in 2007.

9.

Received an honorary doctorate from the University of Pennsylvania.

10.

Accorded with the 6th Aga Khan Award for Architecture, for Aranya Community Housing, 1993–1995.

Philosophies 1.

2.

3.

4.

5.

He introduced the ‘Doshi’ style of architecture, which was an amalgam of both the Contemporary and Traditional styles.

His projects showed an intrinsic inter-relationship between outdoor and indoor spaces.

An honest and appropriate approach was made in material to get a proper climatic responsive building.

Play with hierarchy and order has always influenced his best architecture.

He believed in constructing full-size mockups and scale models to help in decision-making with clients.

“

Limitation of resources leads us to unusual inventiveness

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Christopher Benninger’s Tribute Christopher Benninger’s T to His Guru

his 8 principles

to His Guru

His 8 Principles

His 8 1.Principles Bimal Patel’s Tribute to His Vastu - Purusha Mandala - For incorporating health and hygiene in projects.

2.

Mythical Sense of Spaces - The desire of Bimal the perceiver can influence design.

Patel’s Tribute the to space His Professor 3.

4.

5.

6.

7.

8.

Human Intuition - Dialogue between architecture and people.

Symbolism - It is necessary to create symbolic spaces that serve as hubs for human activity.

Reject ‘rigid’ for ‘flexibility’ - Going flexible will help you transform the space from static content to a space for people to feel a psychic interchange.

‘Finite’ rather than ‘amorphous’ form - Using multiple structural systems help you ‘experience with them may be loose meandering and multiple’. Ex - Aranya Low-Cost Housing, Indore.

Timelessness - Design with ‘open-endedness’.

Transformation of Energy - Energy is transferred between the building and people utilizing the functional space in it. Doshi incorporated this principle in his buildings with pergolas, colonnades, porticos, skylights, etc. Ex - IIM, Bangalore.

christopher benninger’s tribute to his professor “Balkrishna Doshi was a great Indian architect whose passing marks the end of an era.

He was, for me, “Doshi kaka”—my father’s friend and fellow practicing architect. Temperamentally and in their view of architecture, my father and Doshi were quite different. My father, more rational and systematic in his stance, contrasts with Doshi’s more artistic and individualistic approach to architecture. But their differing approaches did not stop them from respecting each other’s commitment to excellence in architecture.

Doshi’s passing is a deep personal loss, and I grieve with his family.”

Top 5 Doshi-Designed M

Top 5 Doshi-Designed Marvels

bimal patel’s tribute to his professor

“This morning, Balkrishna Doshi left his body and continued on his journey, leaving us both memories of a man and an IDEA. I came to India fifty-five years ago in search of a guru, in search of truth, and in search of a believable myth. I was so fortunate to find all of these in one living being, whose spirit still lives amongst us all here today: my guru, our guru, Balkrishna Doshi.”

Top 5 Doshi - Designed Marvels

Sangath - Vastu Shipa Foundation

SANGATH - VASTU SHILPA FOUNDATION Sangath was Doshi’s office building and design studio in Ahmedabad, built between 1976 and 1981. It is built in a modern styleinto and is climate responsive. Reception, workshop, and turn them reality. office, conference hall, library, and ancillary space are among the major spaces.

The building is mostly buried under the ground and uses earth mass as natural insulation. It has a vaulted roof made of clay fused with a concrete slab that acts as a non-conductive layer. Its white and glossy surface reflects the sun, while the clay retards heat transmission.

The building blends indoor and outdoor spaces very well. It

has an exposed finishTownship with a water cascade, providing Aranya Low-Costnatural Housing a nice visual experience. The small cut-outs in the roof slab illuminate the innermost spaces.

HUSAIN - DOSHI - NI - GUFA

Maqbul Fida Husain (a.k.a. M.F. Husain) and B.V. Doshi collaboratively built the Husain-Doshi-ni Gufa in the CEPT Campus, Ahmedabad, during 1992 - 1995. The gufa is in the form of skeletal skin with wire mesh sandwiched on each side by a cement layer. A vermiculite layer is used to cover the concrete, followed by a mosaic of broken china pieces.

High technology and traditional techniques are used to build this gufa. Thus, its construction was dependent on highly skilled laborers who were able to decipher the sophisticated diagrams and turn them into reality.

The building is oriented precisely to let in the maximum heat and light to create a golden glow within. To get a cave-like feeling in the gallery, the site contours were retained. And to keep the interior cool, white tiles are used that reflect the sun’s rays. Columns have octagonal shafts with a wider base and tapered capital.

ARANYA LOW - COST HOUSING TOWNSHIP Aranya Housing was built during 1983 - 1986 in Indore on a flat site. The housing scheme was divided into 58% residential use, 23.5% pedestrian and vehicular access roads, 8% open spaces, and 7% shared community.

Doshi arranged the site into three dwelling zones on each side of a north-south spine where the primary amenities are concentrated. The orientation and offsets help in providing proper shade. A group of 10 is used to cluster the houses. Septic tanks were provided for every cluster of at least 20 houses.

Three water reservoirs were made for the entire site.

The outer periphery of the housing consisted of high-income groups, and the inner zone had weaker sections. Each house was equipped with an outer platform. Major streets ran through the center of the plan in a zig-zag pattern. External patios were provided as an interaction space.

Ara

Indian Institute of Management,

INDIAN INSTITUTE OF MANAGEMENT, BANGALORE Bangalore

Between 1977 - 1985, the campus of IIM, Bangalore, was designed on a sloping topography. Local materials were used to build the building, and ample provisions for plantations were made. On the lower left of the plan, the forecourt and entrance are located. In the top parts, dormitories are placed diagonally around an interconnected network of courtyards. The main area is a series of courtyards connected by internal streets or walkways, some of which are covered and some of which are exposed to the sky, creating views or focal points.

CEPT UNIVERSITY One of the best architectural pieces designed by Doshi is the CEPT (Centre for Environmental Planning and Technology) University. It was constructed in 1962 in Ahmedabad.

It is located on a gradual slope in the northwest, with the main entrance on the northern side and intersecting pathways. The campus eliminates the classroom feeling, eases the interaction between various departments, and brings on architecture without barriers. Orientation is done to avoid harsh sunlight. Inclined skylights on top ofCEPT the studio bring enough natural light into the space.

University There is a neem tree that provides a perpetually changing pattern of light and shadow.

Words are less to describe the legacy of B.V. Doshi. He was a man with great intent and an influencing aura. And as he said, “the more I think I know what architecture is, the less I feel I know about its true calling,” similarly, “the more we think we know about Doshi sir, the less we feel we know about him and his glory.”

We will miss you, Doshi Sir. Love You May your soul rest in peace!

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Cheshta Vashishtha

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Hey lo, melange

080 - 081 The Cultural Influence on Various Geometric Patterns 082 - 085 Poetic Narrative for Ar. NEUTRA

088 - 089 BAYUL DEMAZONG

090 - 091 Exploring the Rich History and Vibrant Culture of the Key Monaster 092 - 094 Architecture: a Realm of it’s own

098 - 099 Architecture: A Tune of Relentless Growth

100 - 103 Streets a setting for life and architecture 104 - 105

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Hey Lo, Melange!

By Jambula Geethika

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ey lo, the realm of India!

Modor of Sindu, Ajanta, Nalanda and Mecca, Parturited the Dravida, Rajput, Mughal architectonics, Crooning the chronicles of Arches, Stupas, Jalis, and Sculptures.

Hey lo, the fatherland of Japan!

Begetter of Byodo, Hikone, Horyiyi, and Himeji, Untouched by the love of Wayo and Osaka château, Torsading the principles of Fasumas, pagodas, Shingles, and Shojis.

Hey lo, the empire of Persia!

Sovereign of Tehran, Kashan, Zanjan, and Shiraz, Whittled f rom the ardor of Persian anatomy, Harboring the clinomania of Muqarnas, Bulbous, Minarets, and Domes.

Hey lo, the land of Egypt!

Rearer of Sphinx, Abydos, Simbel, and Pyramid, Pharaohed the Mortuary and Dynastic armature, Furbishing the antiquity of Pylons, Columns, Figurines, and Hieroglyphs.

Hey lo, the homeland of Greece!

Nurturer of Parthenon, Athens, Delphi, and Acropolis, Prided the jingles of Babylonaneon and Minoan edifice, Metastasizing the legend of Illusions, Proportions, Forms, and Philosophies.

Hey lo, the territory of Morocco!

Castor of Kasbah, Bahia, El Badii and Chefchaouen, Coalesced the tones of Roman, Islam, French, and Berber cadre, Espousing the rubrics of Symmetry, Grandeur, Stuccos, and Tinctures.

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The Cultural Infuenne on Various

Geometric Patterns n Islamic Architecture and Their Signifnannee

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By Isha Rahate

eometry is defined in the study as the physical manifestation of divine and rational ideas. Geometry and numbers are linked to the message of unity in Islam, according to the findings. Based on the study, recurring patterns represent the infinite and timeless concept. Geometric patterns’ beauty and harmony reflect a higher and deeper geometric order.

The majority of geometric ornamentation is based on the concept that any pattern can be repeated indefinitely. In Islamic geometric design, symmetry is achieved by repeating and mirroring one or more basic design units. Geometry is thought to reflect the language of the universe and to assist believers in contemplating life. Islamic architecture is well-known for its ornamentation and decorative elements. This article aims at compiling, analyzing and synthesizing empirical findings regarding the cultural influence on various geometric patterns and their significance in Islamic architecture. It focuses on addressing, assessing and drawing broader conclusions about ONE question: What is the cultural significance of geometric patterns in Islamic architecture?

This article delves into how the culture of different regions influences the geometric patterns used in them. The goal is to identify different Islamic elements and investigate how they interact with geometrical principles.

Repetition and Illusion o- Infnity,

REPETITION AND ILLUSION OF INFINITY A grid of polygons such as equilateral triangles, squares, and hexagons is used to create the majority of patterns. A frame may appear random, simply providing a window onto a pattern that extends beyond the f rame’s boundaries. The formation procedure was used to analyze and categorize Islamic geometric patterns. The origins and historical development of the ‘Jaali’ Concepts have been identified throughout history. The typological classification was achieved through photography, historical research, and pattern conceptualization.

Furthermore, the study looked into the formal aspects of fundamental geometry, such as color and material (Alam, H. and Tasnim, S.T.2021). The prominence of Islamic geometrical patterns, consisting of star and rosette shapes, is the most striking feature (Mohammad A. et.al.,2020). Geometric patterns evolve through various dynasties. One of the study’s milestones is Buildings f rom Islamic dynasties were chosen, and the pattern tessellations are unique to each. The structure has been replicated (B. Dave, A. I. et.al., 2010). The patterns in Isfahan’s Friday Mosque Symmetry represent a methodological breakthrough in the use of the polygonal pattern generation technique, allowing for ever-greater stylistic and geometric innovation (Jay Francis Bonner 2015).

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illustration by Harmandeep singh

SYMMETRY The basic symmetrical repetition and mirroring of these shapes creates a sense of harmony, even though the design can be elaborated and made complex.

This research provides a thorough understanding of Islamic Geometric patterns in jali screens and Islamic façade formation architectural structures, as well as a resource for future research into Geometric and proportional pattern designs (Alam, H. and Tasnim, S.T. 2021). The Lahore Fort demonstrates how a simple hexagonal pattern can be used in a variety of layouts. The grid’s complexity and usability (B.Dave, A. I. et.al., 2010). The sacred geometry that organizes and controls all forms of existence and life, beginning with the eye cornea, DNA molecules for humans, flowers petals, diamond crystals, tree branches and animals, and progressing to galaxies, solar systems, and even the chemical composition of air The sacred geometry science is founded on a thorough understanding of these universal aspects and geometrical arrangements, which include geometrical forms and mathematical ratios found in the design of everything in nature. As a result, it was used in religious architecture in a unique form by all ancient civilizations in order to create a spiritual energy field connecting man to the universe (Dr. Hayam Mahdy Salama 2019).

TWO - DIMENSIONALITY Interlocking or overlapping designs that create the illusion of depth and result in an aesthetically pleasing and visually playful composition. Islamic design principles can be found in Designers regard geometry as the most valuable design tool. The process of producing ordered patterns that govern the aesthetics of designed spaces and surfaces (Mohammad A. et.al.,2020). The extent to which three distinct methods of producing Islamic geometric patterns have been studied. Which emergence is used in these methods has been investigated. This study adds to the debate over the role of emergence in the generative design process, as well as research into how design spaces are affected. This type of emergence is used in generative processes (Someyah Karimi 2020). A detailed survey of the decorative patterns of 100 surviving Muslim architectural structures is being carried out. The patterns are analyzed and chronologically organized to determine the earliest surviving examples of these adorable ornaments.

IGPs’ historical origins and radical artistic movements are identified (Semra Arslan Selçuk 2018). Putting Islamic architecture into context Its goal is to make readers appreciate Islamic architecture’s heritage and to dispel myths about Islamic architecture.

Geometry and proportion are used to explore the intricate and rich aesthetics and environmentally functional jaali screens, as well as the wide range of outcomes obtained. Understanding basic typological orders and categorization can aid in the creation of modified patterns that are in sync with current trends and ideas.

The study of Islamic Architecture in Indian and Iranian styles reveals that the major elements, geometric patterns, materials used, and pattern complexity vary according to region. Because they lack a clear beginning and end, geometric patterns and arabesques are thought to represent infinity.

The geometry and rhythm shown in Islamic patterns depict an infinite variety, allowing and encouraging contemplative reflections. It is regarded as one of the most potent forms of sacred art. It is a contemplative source that allows our minds to wander and contemplate the infinite. These patterns were created using strict geometric rules that relate to the understanding of natural forms based on geometric ratios in the cosmos, which was chosen as the driving force behind design. A monolithic culture influenced by cultural locations reflecting a “in-between space”: a dialogue site reflecting these interconnected influences. As a result, cultural influences Islamic architecture. Furthermore, this topic could be explored by: Studying the need or reason behind the intricacy of patterns in Islamic Architecture. Also, Studying if golden ratio can achieve comfortable beauty ratios in the geometric patterns followed in Islamic Architecture.

In Islamic architecture, geometry is the manifestation of divine and rational thoughts; it is the balance between science and mathematical growth of numbers and complex algebraic combinations with an intuitive sense. Geometry and numbers are related to Islam’s message of unity. The substance has found dignity in art, and with the help of geometry and arithmetic, a sacred space has been created in which the complete presence of God is reflected. The geometric patterns are infinitely expandable. They represent Islam’s inner dimension.

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This Sufi concept refers to the infinite multiplicity of creation that emanates f rom a single point: multiplicity in unity. The chosen geometry is completely compatible, coordinated and consistent with the type of performance as well as the material and spiritual needs of humans. In Islamic art, proportion is the most important component of defining beauty. The proportions between God and the basic components of Islamic art, such as creation, light, goodness, and color, are discussed when discussing the scared geometry or physical structure of Islamic art, particularly in architecture.

Geometric patterns are analogous to plurality in unity forms in traditional architecture. Recurring patterns represent the infinite and timeless concept. The beauty and harmony observed in geometric patterns reflect a higher and deeper geometric order.

Westworld Altered Carbon

COWBOY BEBOP

Cabins In The Wild The Mandalorian

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Richard Neutra RICHARDJoseph JOSEPH NEUTRA

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ichard Joseph Neutra was one of the most influential architects of 20th century who helped define modernism in South California & around the world. Neutra was interested in Otto Wagner’s works and took an apprenticeship under Erich Mendelson.

Modernism is usually criticised for imposing universal rules on different people and areas but Ar. Neutra’s personalised and flexible version of modernism created a series of private homes that are still highly sought after making him the most significant mid-century modernist.

He worked with F.L. Wright and Rudolf Schindler after moving to the US from Vienna till he started his practice in 1930. He was convinced that the evidence of how the nervous system responded to the designed natural and built environment could lead to design that enhanced wellbeing and health.

His philosophy was of biorealism and he had a psychoanalytic approach to architecture. And his works are invariably rational, generous, and limpid.

His architecture was not architecture of adornment but kinds of people, use of new technology to make good design affordable and responsive to climate as well as integrate nature and landscape into the built environment. His philosophy of ‘Biorealism’ sought to use biological sciences in architecture ‘so that design exploited, with great sophistication, the realm of the senses and an interconnectedness to nature that he believed fundamental and requisite to human well-being’, as described by architect and scholar Barbara Lamprecht.

By Alekhya Sridhar

Institute. His college of environmental design at California Polytechnic University at Pomona is highly reputed. He received a posthumous gold medal from the American Institute of Architects and several other international awards. The Time Magazine called him “a prophet of clean, crisp modernism; and his house, most of which were built in California, have inspired countless architects”. He designed various projects and photogenic structures; iconic residences, innovative schools, multi-family housing, civic and commercial projects, inspiring city and community plans and unbuilt plans for affordable housing in Cavez Ravne.

Some of his famous quotes are: • I am an eyewitness to the ways in which people relate to themselves and to each other, and my work is a way of scooping and ladling that experience.

• Architects must have a razor-sharp sense of individuality.

Some of the books written by him: • Richard Neutra And The Search For Modern Architecture • Survival Through Design (1953) • Life And Shape Some of his iconic works are: 1) Lovell Health House, 1929 2) Eagle Rock Park Club House, 1942 3) Kauf mann Desert House, 1946 4) Alpha Wirin House, 1949 5) Vdl Research House, 1932-1965 6) Clark House, 1957 7) Serulnic House, 1959 8) Singleton House, 1959

ON A SPECTACULAR PEAK ATOP MULHOLLAND DRIVE, WAKING UP TO SCENERIES FROM PROPERTY TAKE IN THE PACIFIC, SHINY SKYSCRAPERS OF DOWNTOWN, DESERT-SCAPE, AND SAN GABRIEL MOUNTAINS. WITH FLOOR-TO-CEILING WINDOWS, CROSS-VENTILATION, AND NO IGNOBLE SHADOWS. MAGICALLY BLURRING LINES BETWEEN INTERIORS AND EXTERIORS, RAISING A ZEN-LIKE QUALITY BETWEEN NATURE AND STRUCTURE. MAGNIFICIENT VISTAS AND A SOPHISTICATED DESIGN, AWAITING FOR YOU TO DIVE INTO OBLIVIOUS COGNISANCE. BESTOWING AN ESCAPADE FOR EVERY EXCEPTIONAL MOMENT EXHAUSTED IN THEE.

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illustration by Deepam Mehta

BAYUL DEMAZONG: A brief insight into

B

the architecture of Sikkim

ayul Demazong, or “the hidden valley of rice,” is another name for Sikkim. Home to the mighty Kanchenjunga, alpine meadows, and dramatic landscapes lies a landlocked state bordered by India, Bhutan, Nepal, and Tibet [modernday China]. The tiny Himalayan kingdom was inhabited by the Lepcha community until the arrival of the Bhutia and the Nepalese community from Tibet in the 13th century and Nepal in the 19th century. And it was the former who laid the groundwork for Sikkim’s architecture, which has largely followed the Tibetan Buddhist architectural tradition throughout history.

The architecture in Sikkim is mostly inspired by its neighboring countries of Bhutan and Tibet, which is evident in the monasteries, palaces, and old buildings. The traditional architecture remains alive in the monasteries in Sikkim today. The gompas or monasteries constructed of natural materials like clay, stone, and wood saw a major evolution with time, starting from the shrine-style gompas, dzong-style gompas, and the enclosedstyle gompas. The monasteries were initially made as shelters for wandering monks, but as time went on, the monasteries developed into schools and learning centers for Tibetan Buddhism. Hence, its architectural layout saw evolution as well. The three tiers representing men, monks, and god, however, remained constant. The interiors and exteriors of the gompas are brightly colored with murals, carvings, and motifs on walls, pillars, window beams, doors, and ceilings of religious themes, especially the lives of Buddha, Guru Padmasambhava, and protective deities. Whitewashed “chortens” or stupas are also found beside gompas, which locals and pilgrims usually make.

By Tshepal Gyaltsen Bhutia

Traditional Bhutia houses are seen in rural areas of the state, built of wood and stones with an interlocking mechanism and without a single nail, even on the parts covered with wood. The houses are two-storey, with the basement used for sheltering cattle and storing grains. The kitchen is linked to the “yokha,” or bamboo verandah, and is used for dishwashing and cleaning. The traditional Nepalese houses are usually single-storeyed and made up of mud or stone with a thatched roof made of either tin or straw, and a paste of manure and clay is used for painting. However, such houses are becoming increasingly rare, and the government is offering incentives to anyone who is preserving their traditional homes.

With the climate of the state being rainy for most of the year, the roofs of houses, government buildings, and monasteries are usually sloped. With the increase in the influence of modern architecture, the architectural style in Sikkimese households is seeing a major change as well, but the one thing that remains constant in the houses of the Buddhist community is the cement carving of the “Mekha Dadul,” or the evil eye, on the f ront face of the houses and the “choesum,” or the prayer rooms or personal chapels, in the upper floors that are housed with statues, thangka paintings, religious scripts, and a lot of wood carving in the doors, the storage for statues, and the tables for reading.

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illustration by Adviti Damodar

Exploring

THE RICH HISTORY

AND

VIBRANT CULTURE OF

THE KEY

MONASTERY

THE KEY MONASTERY

By Rishika Sood

A

A typical day at the Key Monastery in the Spiti Valley, Himachal Pradesh.

s dawn breaks on the Spiti river and the Located at an altitude of 13,800 ft. (from mean snow capped mountains that surround the sea level), the Key Monastery is one of the oldest Monastery, the monks prepare for a new day… monasteries in the Spiti Valley.

Making their way silently to the prayer hall, It is believed to have been founded in the 11th Century they settle for their ritualistic morning prayers.

A.D. by ‘Dromton’, a disciple of the Buddhist master Chanting the sacred Buddhist Tantras, the monks ‘Atisha’. However, in contrast to its sacredness, its empty their minds of all worldly pleasures and prepare history has witnessed considerable conflict and for meditation. unrest.

Following their daily routine, they then disperse From Mongol attacks in the 17th century to deadly from the prayer hall into the labyrinth of rooms and fires in recent years, the monastery has been corridors of the premises to adhere to their chores. subjected to severe damage. While invasions by the While some monks occupy themselves with the Dogra Army subjected it to deep ravages, a violent maintenance of the monastery compound, some earthquake in 1975 threatened its very existence, but rush off to the kitchens to prepare restorations by the ASI and State PWD yretsanmeals oM yefor K eeveryone. ht ta yad lacsubsequent ipyt A After having their breakfast, the little monks, merely have helped retain the structure in its candour. .hsedarP lahcamiH ,yellaV itipS eht ni children, leave for the government school nearby to Today, it is maintained by the ‘Geluga’ sect of Tibetan receive their formal education. As they reach the gate, Buddhism. they turn back and sneak a glance at the fort-like The culture of warfare witnessed by the Key monastery; their new home.

Monastery has played a major role in shaping its With square rooms arranged on multiple levels, it architectural style. reminds them of the buildings that they made at Unlike other monasteries, it is built of several home using Lego blocks; before they were sent here individual rooms. Being built over a span of many to uphold the legacy of their rich Tibetan culture. years, they have been stacked randomly on various levels. The ‘Pasada Style’ of Architecture (often characterised by a fort-like appearance of multiple storeys) is evident in the built form of the monastery.

gnirolpxE

YROTSIH HCIR EHT FO ERUTLUC TNARBIV DNA

YRETSANOM

YEK EHT

Influences of Chinese Monastic Architecture (which was popular in the region during the 14th Century) are also found in the sacred complex.

The building is divided into three main floors which include the underground, ground, and first floor.

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illustration by Aarthi Reddy

While the underground floor is used for storage, the ground floor consists of numerous cells for the monks, and an assembly hall known as the ‘Du-Khang’, ornamented with numerous intricate religious paintings.

The monastery is also a repository of several ancient artefacts recovered from Tibet.

These include sacred idols, paintings, manuscripts, and musical instruments such as trumpets, cymbals, and drums.

They are stored in the oldest part of the monastery, called the ‘Old Gompa’, which is closed off for public viewing.

Some rooms in the monastery also showcase elaborate ‘Thangka’ Paintings. Usually painted on cotton or silk, they depict Buddhist deities, scenes, or mandalas and are displayed on the walls during religious festivals and ceremonies.

Additionally, its library has one of the largest collections of the sacred ‘Tengyur’ texts, which are translated treatises of Buddhist teachings. Together with the ‘Kangyur’ text (which is the collection of Buddha’s sermons), it forms the basis of the ‘Tibetan Buddhist Canon.’

Withstanding the test of time, the Key Monastery is the largest centre of Buddhist learning in Spiti Valley and is the oldest training centre of Lamas. Home to almost 300 monks aged between 7 to 80 years, its youngest monks are provided with both traditional knowledge and modern education.

As its system indicates, upon reaching adulthood, only a few monks choose a scholarly life in religion and advance towards spiritual fulfillment.

The others dedicate their lives to help sustain the monastery, and only indulge in sutra chanting, reciting prayers, and meditation.

Besides being an important centre for Tibetan education, the monastery is also a popular tourist destination in the Spiti Valley. With rooms available for accommodation, it charges flexible rates from the tourists to provide a first-hand experience of its sacred Tibetan culture.

During the annually organised ‘Gustar Festival’ scheduled according to the lunar calendar, people f rom all over the valley flock to the monastery to participate in its religious proceedings.

Celebrated to signify the victory of ‘Good over Evil’, the ‘Cham dance’ involves Llamas dressed up as demons, who are chased by those dressed as deities.

Held in the ritual ground, after the final Victory Dance, a large butter sculpture of a demon is set on fire. The devotees then lay flat on the ground and Llamas dressed as deities walk over them (as a part of the ritual) to cure them of any disease or evil spirit.

This religious ceremony (along with several others performed in the monastery throughout the year), is integral to the sustenance of the Tibetan Buddhist community in the region.

Despite the advancing modernisation around its, the monastery has managed to keep its vibrant culture alive. With new plans of expansion and the support of the administration, this monastery shall continue to grow and thrive, educating the generations to come.

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CH THE AR ENDS M RECOM

I Z A G A M

l a r u t c e t i h c r A The Review a c i t e h t Aes

Domus

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s S E ZIN Dezeen Detail

Architecture A re it

By Riya K Jain

A

rchitecture - A realm of its own A culture beyond our coterie Of centuries flown Sauntering on camaraderie “Façade sheath the mystery, unfold” “Mind-boggling treacherous pleasure” “Sprinting over the essence untold” “Altruism is to treasure” Says my fellow compeer Overwhelmed by the grandeur Servitude to nature the oath Shall proclaim thy profession truth Marvelous heights, fluent forms Exquisite ornamentations, sumptuous elements Manifestation of the realm’s norm Delusional silence breaks experiment Sustainable dwellings, quaint structures Requisite ornamentations, economical spaces An amalgamation of contemporary structures Forms the real realm of embrace The beings are the soul, realm a cloak Architecture shapes the universe Perception shapes the folks

The influence of spaces, the first verse The sensitivity of design and impact The process and energy Together create a beautiful poetry With the form rhythms perfect The complex metaphors The Wordsworthian landscapes Some give the poetry a gape Some fancy a distressed escape Creating balance of vision, an endeavor For life’s longing and obstacles This common dream haunts the clan Hand in hand sauntering as the plan Cumulating the particles Consummating the dream The mesmerizing happiness short-lived For challenges flow like a stream And architecture will pursue to fathom For this is how the realm strived Architecture is ceaseless So the community is priceless Culminating the attributes Architecture remains a realm of its own

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illustration by Deepam Mehta

ARCHITECTURE A tune of

relentless growth

By Vajjrashri Anand

1. Architecture as a mosaic jar of everything How architecture changed your perspective that makes a city.

ARCHITECTURE

An unreal experience with space. A captivating Places. And the presence of its people.

A tuneCultures. of relentless growth walk down an aesthetic street. The dramatic I had been living and experiencing these play of honest materials. The vitality of scale; ideas arbitrarily like colours placed in different proportions and a surreal feeling of being hollows of a palette. consumed by spaces. Or just a blind decision Each colour speaks of its own description.

Storytelling: Howthis architecture and curiosity to explore beautiful profession.

Architecture; in its most raw form, allowed All of those descriptions above are probably why me to view it as an eccentric mix of these changed your perspective you chose architecture.

Your reason might be colours. Observing kaleidoscopic patterns more unique and not even listed here, regardless and indulgence of cultures in buildings and of; you’re here. Most likely taking a break from buildings in people.

Storytelling: architectureThe MG Road metro station in Bangalore, for the mindless pile of work or How procrastinating working on your upcoming sheet submission. instance, is a station filled with art. Its street art your perspective Read on aboutchanged how architecture evolved my aesthetic transports you into a space of awe perspective. Hope this article makes you reflect even before the metro does. on how architecture might have changed your There is a cohesive, rhythmic movement of the perception, added value to your existing beliefs passengers, the metros, and the pieces of past and made you a space-conscious thinker. metro experiences that stay within us.

Bangalore metro is just one example of many A slice of how I perceive places. art murals and street paintings created by Listed below is an asymmetrical collection of St+art. An art-loving organisation, its work has architectural experiences and realisations that created quite an impression on Indian cities in moved me. recent times.

CTURE of

relentless growth

Three storeys of innocent expressions.

A meaningful visual narrative painted on a wall in Kannagi Art District, Chennai

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illustration by Isha londhekar

2. Bridging the yawning gap between the 3. Adaptability of structures and the curation elite and the penurious. of impermanent experiences.

A prominent example that has stayed with me is the Meti school in Bangladesh by Ar. Anna Heringer. It is fascinating to see how she has utilised native materials and local labour to create something so empowering and bridging.

It is an organic space that was built with simple vernacular architecture, yet brought about a huge wave of change; curating a safe learning space for the underprivileged children of the neighbourhood.

Another one is a hands-on project that I saw firsthand. As a part of an experiential workshop in Auroville, architecture students are often invited to help build structures for deprived children. The After School Tamarai, located near the outskirts of Auroville is an example of how architecture manifests change through materials. Simple materials like brick, bamboo, and ferrocement constitute a space that professes a sense of security and happiness to the young ones.

Before studying Architecture, I believed that the very nature of structures and built spaces was to stay. To sustain weather and the passage of time, and exist as a haven for its inhabitants.

As it happens, architectural education, quite unconventionally, led me to explore and understand the idea of impermanence.

The Kumbh Mela, for instance, is the perfect avenue to explore this idea, as shared by Ar. Rahul Mehrotra.

A mega religious festival of India, it houses thousands of families in a temporary city that is built up in weeks, and after about three and a half months, swiftly disassembles into a barren land as it was.

He emphasises that impermanent cities that can travel, reshape or retreat have the least possible effects on the environment, radically working towards a sustainable and greener future.

A secure vernacular structure composed with pockets of colours leads us to a new world inside.

A rapid settlement that arrives every 12 years; Stays,functions and disappears.

A tranquil hall with bamboo columns and close horizontal strips of wood.

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Walking. Running. Cycling. All of these are regular activities that we do to reach a place of choice.

And once you begin learning architecture, these mundane happenings turn into a poetry of observation.

Discovering and treasuring the details of a street, to staring at a harlequin pattern on a dado wall, Architecture sways you from observing a city to a mere toilet detail.

Eyeing the macro and the micro, The transition from : Seeing to looking, hearing to listening, feeling to experiencing, From a dream to the site, From thought to truth.

This is the barter that architecture provides for your sleep, time and focus.

A slice of how I perceive life.

We are all familiar with the statement, Architecture is not just a profession but a lifestyle.

I seek life lessons in every conversation and story, and luckily enough, architecture has been a stirring experience.

Every time you land inside a project, you are halted by an internal monologue, a mind full of questions and a heart full of many emotions.

“I do not know this subject, it’s intimidating.”

“How am I going to figure this out?”

“Will I be able to complete this submission in time?”

Amidst all the chaos, anxiety, self-doubt, questioning, reasoning, designing, critiquing and finalising, Architecture carries you through life.

It shifts you from a clueless space to a progressive learning curve, with dips and rises for sure, but finally arriving at something that ‘you’ created.

Something that you’re proud of.

Something that plunged into.

Something beyond your comfort zone.

Architecture is a tangible challenge that pushes you from feeling complacent to feeling content.

A certainty, and a sense of self-belief that grows, and diminishes, and grows again. It fluctuates yet invariably exists in a firmness.

Every moment when you caught yourself wondering if all of this was even worth it, was a moment you brushed that thought off and continued.

Despite the fatigue and the energy drain, you somehow manage to get through.

And at that moment, you are building resilience.

With each passing semester, after all the dreadful and gloomy, there lies a story of grit, a smile curved into patience and perseverance.

This celebrated profession makes you walk on a tremendously narrow bridge of time.

And being a lifelong journey, gaining the right perspective is all about finding your balance.

This tedious journey is a surreal mix of dread and delight and it taught me to find beautiful in the awful.

Architecture does not change your perspective, it enables you to meticulously build one.

Streets

By Niharika KC illustration by Kiran S

- a setting for

life and architecture The eyes unsure of where to look, a tale is told on either side of the street.

Just like a wall in a gallery, Every building is a piece of art.

Windows and doors, A portal each leading to a different setting, Where emotions and sensations are revamped.

The boundless gallery unwinds as the journey proceeds.

Streets, avenues, lanes, ways, paths,and more are defined as roads that have buildings on one or both sides, but they are more than just public utilities with buildings. They are like a magician’s wand, directing you through the magic of life and architecture. We are charmed by the spells it casts and it changes with the change of the street. They are a stage set up for activities to bring people together. Therefore we go to them because we want to be there not because we have to go.

Via dei Giubbonari, Rome, is one such wand that casts a spell of curiosity. One is curious to know where the funnel-shaped widenings lead to. It takes you to witness a series of buildings with wall thicknesses clearly visible through the glass panes in them. A strong sense of verticality reinforced with vertical lines is observed. The facades are richly detailed with sills, shutters, cornices, signs, lights, downspouts, and more. Though these seem not so remarkable, their presence is felt. The enchantment is complete when light brushes over these surfaces providing a contrast between light and shadow.

Just like the ground, the water can cast a spell too.

The Grand Canal of Venice uses its charm of timelessness to bewitch us. The water gondolas, narrow passages, balconies, and their reflections make it a great “street.”

The movement of the mediterranean sea through Venice takes you to steps emerging from the water with poles adjacent to it for the boat, leading to a stone landing at the f ront door. The facades are generally of light color and extravagant details.

The pink-red tiles on the roofs are visible due to the large slope.

One side of the canal is always under the sun. It becomes a symbol of a directional shift in the course as well as lights up the facades. Venitian windows with stained glass, delicate columns in stone, balconies, chimneys, and more take you back to the Byzantine or Gothic era.

All of these define the slow and rhythmic canal.

memory of France in Brazil.Not only do natural features have the ability to cast spells, but man-made features like stores and cafes can work a charm too. Boulevard Saint-Michel has buildings with windows that grab the attention of a passerby and invites them to take a look at the goods displayed on the racks or tables on the sidewalk. The street is filled with people and several other things like benches, racks, book tables, chairs, signs, and more.

The play of light and shadow is extremely evident as the sunny spots stand out in the darkness of the shadow cast by tall trees. Due to this, the stores switch on their signs even during the day, giving a day-night feel to the street.

The way the magic wand pulls out rabbits and birds from the hat, trees are essentially something that a street sprouts out. These trees take you along the streets of Beijing. It’s a fine way to travel amidst the line of trees that change their spell to be cast every season.

These are used for utilitarian purposes as well as to provide a comfortable and pleasant environment.

The Botanical Garden of Rio de Janeiro is also a wonderful example of streets defined by trees. Tall, stately palms spaced equally, remind you of a Gothic cathedral due to their scale, the light squeezing through it, and the open spaces. It’s another charm to jog your

Speaking about commercial spaces and crowds, Banglorians recall Avenue Road in Chikpete.

Though it is not maintained or is devoid of trees or water bodies, the arrangement of the stores and display of goods bring out the commercial spirit of the street.

Hence streets, short or long, narrow or wide, crowded or empty, on ground or water have a distinguishing character and cast a unique spell on each one of us. They pave the way, connect, and direct you through the magic of life and architecture, just like a magician’s wand.

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2009 2010

2012

2013 2014

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2018 2019

2017

2016

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2015 2021

By Khushi Guptha

Graphics by Kotha Sai Varun

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ACKNOWLEDGEMENT The following individuals helped make this edition a reality, and the Indian Arch team would like to express our deepest gratitude to them.

THE INTERVIEWEES: Ar. Diana Kellog Ar. Ken Yeang Ar. Harish Karthick Vijay

THE WRITERS AND EDITORS: Jambula Geethika Alekhya Sridhar Vajjrashri A Tshepal Gyaltsen Bhutia Rishika Sood Isha Rahate Jambula Geethika Riya K Jain

IMAGE CREDITS: https://st-artindia.org/ https://st-artindia.org/ https://www.anna-heringer.com/projects/meti-schoolbangladesh/ https://www.anna-heringer.com/projects/meti-schoolbangladesh/ https://blog.railyatri.in/8-facts-you-never-knew-about-kumbhmela-in-allahabad/ https://commons.wikimedia.org/w/index.php?curid=72700213 https://www.tripoto.com/spiti-valley/trips/a-day-with-themonks-5779b995c927c https://www.atlasobscura.com/places/key-monastery http://www.himachalworld.com/religious-tourism/monasteriesin-himachal.html#monasteries_in_himachal https://www.india.com/travel/spiti/places-to-visit/monasterieskey-monastery/

STUDENT ILLUSTRATORS AND PHOTOGRAPHERS: Kallem Vivek Vardhan Reddy Urjjasee Basak Wafa Abdul Rahman Shashank B K Ponnuru AKhil Sajeela Rizwa Sakeer Antara Munshi Vanshika Kapoor Dhwanee Kolage Zainab Jambughoda Khushbu Raghav Vishwajeet Walvekar Dhavana Cheshta Vashishtha Arjun k Omkar Mhatre Keshvi Yohan

https://www.f rsthand.com/story/a-day-in-key-monasteryhttps://www.archdai-ly.com/104112/ad-classics-kaufmannhouse-richard-neutra. https://www.britannica.com/bi-ography/Richard-Joseph-Neutra. https://www.la-conservancy.org/archi-tects/richard-neutra. https://www.archdaily.com/616668/spotlight-rich-ard-neutra. http://www.theeast-sideagent.com/iconic-la-10-richard-neutra/. https://www.roslarchitects.com/arti- cles/2018/12/29/ http://www.angelenoliv-ing.com/blog/single-ton-house-byrich-ard-neutra-in-bel-air. https://architiz-er.com/blog/inspiration/collec-tions/po-emsabout-architecture/. https://www.mc-mdaily.com/the-single-ton-house/ https://www.icchitecturaldigest.com/story/vicial-soscion-rontaarticle

https://masalabox.co.in/cham-dance-gustar-festival-keymonastery-spiti/

We would also like to thank all the people who extended their support in making this magazine a success.

Much Love.

Team IA.

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“

SIGNING OFF

INDIAN ARCH ‘22 TEAM

“

until next time

2023 started with a massive loss in the architecture fraternity - The loss of the legendary architect, B.V. Doshi. He was not just a name but an emotion, an ideal, a guru, and an inspiration for every architect, and architecture student out there!

Though we can’t ever fill in the gap created by his demise on 24.01.2023 in Ahmedabad at 95. The least we can do is pay a small tribute to this great legend, and pray for his soul to rest in peace!