Nigudha- the theme for this edition of the Zone 6 Newsletter aims to bring to light the hidden architectural gems that lie in the historically rich states of Kerala and Tamil Nadu.
Rather than simply giving a narrative on the structures chosen, we as a team, have come up with a fun and interesting mystery that can be solved through clues hidden in the captivating comics done by our designers and in the enthralling editor's articles.
Join us as we unveil the architectural marvels of the zone, experiencing the culture, people and more. We have tried to capture the true ethos of Zone 6 which is truly an emotion, and we hope this leaves you entranced in all that the zone has to offer!
DURGA
VEERA DHARSANA DESIGNER
HEINZ JOHANNES PAUL a.k.a
PREM MANASVI PAUL HEINZ JOHANNES PAUL a.k.a PREM MANASVI PAUL
As an active member of INTACH [Co-Convenor], what would be your message to young student architects?
To answer this question, I will make an assessment of my 30 years by explaining myself in images. I look at myself as a tree, rooted in his German culture. A tree grows towards heaven. These are our ambitions, our aspirations. But can we grow if we cut off our roots? If we don't take care of our roots? And to take care of our roots means two things. First of all, to look for the rotten roots and maybe cut them off. Our knowledge has increased. Science has increased. So, there might be beliefs or traditions that don't make any sense anymore. At the same time, we have to give space for new roots to come. That reflects the changes of the times. The same imagery can be brought into the creativity of an architect of the present.
Also, about the west, we had innumerable wars that destroyed a lot of heritage, but for whatever was left behind still coexists with the new ones wonderfully together. One of the major challenges to achieve this in your country is the absence of a comprehensive legal framework that prevents the anarchy that otherwise would happen if each of us has it the way he or she wants to do it. And I feel pain because whenever I go to the West, I see it is possible. It has nothing to do with money or development. For example, our preservation of our built heritage is one of the resources to attract domestic and international tourism. I would really encourage young people to have the courage to make themselves heard and speak about such matters.
So, as an architect, I would like to remind you to not just adhere to the client, but try to inspire them with the kind of reflection you hold.
Illustration by: Amith Thomas Varghese
Interviewed and Curated by
Rima Shereef
Mr.Prem Manasvi Paul, a native of Germany, and a teacher by profession, visited Kerala for the first time in 1992. Manasvi felt an attachment to Kerala, which according to him was something that cannot be explained as in the case of a love story. And it took a second visit to Kerala for Prem Manasvi to fortify his love for Kerala. And he did so by making his own a traditional ancestral house of a Brahmin family- a Mana, located at Perumpilissery in Thrissur District of Kerala. The house attracted Manasvi due to its unique architecture and the application of Vastu Shastra (traditional architectural science). In his words- “I just felt like having come across a jewel buried under a heap of dust?” About the architecture of the Mana, Prem Manasvi is very much appreciative of the inbuilt wisdom of facing the climatic conditions of a tropical country like cross ventilation and sloping roofs, the local materials used, the subtle art work that he discovered slowly and the kind of energy the people who had been living in his house had left behind.
1. As an individual that loves to travel throughout the years of your life, out of all the innumerable places you visited, you chose to settle down in Kerala owning this beautiful traditional dwelling. What elements attracted you to this place?
I'm quite aware of the fact that it is rare that a Westerner settles down in India and you know, for me - traveling is a way to discover the world and broaden your perspective. I come from the most simple background, from a poor family and India was never on my list. It's a very simple story. I came to India to meet one of my closest friend whom I have not met for long, and this incident has basically changed my life because I came into a world totally unknown to me, with strange images. I had never seen this scenery - the overcrowded roads, the colorfulness, and I realized I had the perception that I'm an educated person, and yet I know nothing about this part of the world. It shocked me to realize the limitations of my education. So basically, as I was attracted, I wanted to understand what is behind this attraction. During my expedition in India, Kerala came to me as a fortunate stroke of serendipity. I became attracted to the landscape of Kerala, the paddy fields, the palm trees and the elephants on the road. It was then that I was very much fascinated by the beauty of this traditional architecture. And I had this idea, to have a little traditional house. I wanted to have a little house and not a larger mana, but then as a foreigner, I have seen about a hundred houses and yeah I came across this mana and it was love at first sight. I always want something to attract me and the negotiation behind this attraction is intoxicating. Gradually, I realized that these houses reflect a philosophy and a way of thinking. They represent a holistic view to deal with life.
According to your point of view, how important is it for an architect to design not just a building, but an expanse consolidating the surrounding
So basically, these traditional houses connect with the outer nature that makes our life. Not only this, they are about mathematics, they are about astrology, they are about art and diverse materials. In my house we could surely experience this connection whether it's the open courtyard or the multiple outdoor trails.
One of the prime adaptations of this place to deal with the climate is the adoption of cross ventilation. In the beginning a fan was not required, they were installed very recently due to the global heat augmentation. And it's a matter of enlightenment that there is a swap in the perspectives of architects where they are aiding creation of homes facilitating connectedness.
During the renovation period, I had to make the decisions to replace types, but appreciating the integration of surrounding context to the building, I was definite and choosy about the materials incorporated. For me, clay tiles were the best choice for my home rather than any polished flooring (granite or marble). The colors chosen were allied with nature. I would definitely suggest you to visit some buildings in the west where you could observe how an 18th century structure could blend with futuristic architecture - an aesthetic effort considering the landscape and other contexts of the site. Looking into the landscape we observe a harmony, to bring the old and new together. For example, you just cannot use fancy colors as they are, but maybe can create a contrast that is aesthetically acceptable.
3. How did you manage to replicate the old techniques of traditional architecture and tropical climatic adaptations during the restoration period, when in the current scenario we have much scarcity of skilled craftsmen?
During those times when I had discovered this new found fondness for this place, at a faster pace, these older existing structures were torn off. Everywhere you could get all the artifacts of torn down houses; you know, the pillars and such. A lot of the artifacts I have used for my renovation, I gathered from roadside stores in Thrissur. And this practice of people destroying their own charismatic culture was quite a painful thought for me. Because for me, building heritage was culture. I use an image of a country and the people here were unnecessarily destroying the roots of what they are and represent. And I had this desperate urge to know from the architectural pedagogy of why such terraced buildings existed in a tropical country. There have been a lot of consequences with such inventions like the creeping fungus on the walls of a new building. And I really doubt the aesthetic principles behind these!
Coming back to the restoration of this home, I was fortunate enough to have my own carpenter for the work and he had basically done a beautiful job with the artifacts collected by me from all corners of Kerala. Also, reading the finest of older books could enlighten me with the traditional construction techniques of Kerala style architecture.
The way I live here in this old mana and this property, by preserving it, helps me to get the same connection that the number of trees got 200 years ago. And all the people who have visited me have this connection here.
4. After the prior acquisition of this residence 30 years ago, what are the major restorations it has undergone?
First of all I realized that this whole concept of architecture was disastrous, as the connections I mentioned earlier were amiss in the expression of modern architecture. People still prefer and appreciate the idea of new homes, rather than spending money on renovating older structures. So, the point is, I did not want to buy a museum or make a museum out of it. I was attracted to the beauty of this house. I realized it was built for a totally different time for a Brahmin family setup and I needed changes to accommodate my needs, but at the same time, I had a very clear principle to do necessary little changes as possible to preserve its beauty. I can explain a li'l bit of them to you. For example: when we get into the first room, that was a storage room at that time, which held the wealth of these people, so, the door to the storage room is very beautiful, carved and designed, and there were these chambers on the left and the right side. As I don't have a need for the storage room anymore, I made it an entrance room the way you see it now. This room had a stair in its earlier form which was taken away to increase the space for the room.The cellar under the stairs was closed. The door in this entrance room had been one of the major changes - it’s an old temple door collected from the way towards Cochin. Maybe due to their older beliefs they did not have a restroom inside the house and I have incorporated one according to my convenience.
A few dramatic changes have been done with the window positioning and design. The window on first floor has been enlarged and arched to have a better exterior view. I still have an unfinished room were the early keralite women stayed during their menstrual days adhering to the strange patriarchal concept, and this room is connected to the outside "pambu kaavu",as a way to stay connected with God during these days. Another one is this room where they had these big vessels kept, the floor of this space was lowered to make a meeting room out of it. Everything here is very much earthbound being on the floor. Every piece of furniture is a new element. For me,this place is a little paradise,and I enjoy the simplicity of my life in abundance.
Vivekananda House Vivekananda House
Ar. ASWIN SENTHIL Ar. ASWIN SENTHIL
How can the architectural pedagogy contribute in ensuring that students learn not just about the landmarks but also such underrated places?
The current architectural education and the next phase of the CoA's plan is moving away from that logic of learning only History of Architecture. Since its inception it's been a very technical subject, that arose from when architecture was first established in India at JJ College of Architecture and the British architects needed labour, they needed draftsmen. Now after 75 years it's been changing now that humanities and history is also coming into play.
Architectural education will only show you one grand example and tell you why and how it was built. It can't show a hundred different things because we are constrained by five years. We should have the tendency to learn about underrated buildings ourselves.
If you see, the Archeological Survey of India has this programme for corporates called ‘Adopt a Heritage’ that comes under corporate social responsibility . For example: Tata might go to ASI and tell them I want to adopt, say Humayun's tomb, the caveat is that they have to manage five unknown heritage buildings which are mandated. Architectural education can also follow the same logic. Architecture has always been this collaborative journey, each person can learn about one structure and share it with the rest.
Illustration by: Advait Vinod
Pranesh R U
Ar. Aswin Senthil is a practicing architect, researcher, and academician based out of Chennai. He runs his own architectural practice, Prayogshala Design Research Collaborative, and is the Director of CitiStrata Research Foundation. Throughout his academic and professional career, he has been able to work and collaborate with various practices across the country. He received his Masters's degree in Architectural Design from CEPT University in Ahmedabad. He is currently researching on various topics of interest such as Queer Ecologies in Architecture and Urban Informality. His interest and expertise lie in social infrastructure, architectural research, and fabrication.
1. Can you tell us about the historical narratives attached with the Vivekananda House/Ice House?
Communities were hired to retrieve it from the larger ships as Chennai's shoreline would leave larger ships stranded. They were stored using salt and you can notice the walls are very thick, plastered with lime mortar. All of these are classic ways of thermal insulation. If you see the Pitts map, the building is located very close to the shore but now it's almost 700m-750m away due to land reclamation and natural changes in the shoreline.
As various refrigeration techniques came into being - the Tudor ice company went bankrupt and at that time the government acquired the structure and it was made into a residential place where Swami Vivekananda once visited. Around the 1990's it was given to the Ramakrishna mission and it is now being run by them as a memorial for him in Chennai.
2. Could efforts by students through documentation help in preserving the historical significance of this building?
Student documentation, yes, there was a batch from MEASI that did documentation of a temple near Kanyakumari which was built by Raja Raja Chola and this was really appreciated by the ASI. CoA also gives awards for heritage documentation and these rurals projects are compiled into a beautiful catalogue and a much needed repository. We end up contributing to this ecosystem where knowledge is propagated.
3. Did the building play any other significant role in Chennai’s history?
I don't think it played a major role in other facets. It was important for the British because it provided ice. Vivekananda also stayed there for only a few days and it never served as a base during the freedom movement.
4. How has cross-programming of functions like meditation hall helped sustain this building through the revenue generated?
Function changes, the form becomes redundant.
The current logic with architectural conservation of any building, is how can we use the heritage buildings in the best way that they aren't frozen in time and it does not become a channel where money goes in and never comes out properly? This is the fallacy of preservation. The logic of conservation is to do an adaptive reuse, making the space more useful and allowing it to subsidise itself. If it had been preserved solely as Vivekananda House it would've taken a lot of money to preserve it and not survived.
5. Does preservation of cultural heritage through such underrated structures serve as an anchor to the past for the forthcoming generations?
Yuval Noah Harari said “The beauty of history is that all our problems are not novel.” Meaning our problems are not unique, they have happened before and humankind has had the capacity to solve it. We should look behind and learn through it. Whenever you have an architectural problem, remember that someone at some point of time has solved it. So that's how history reminds people of their capacity to pull through whether it be social, political or architectural.
6. Does this building incorporate any intriguing construction method that could be revived and adapted to our current designs?
I'm not sure if the construction method is that relevant to today's scenario. In a very hot and humid ecosystem like Chennai they used very heavy walls of brick and lime mortar, and lime mortar lasts longer. There's madras terrace roof that is used - which is a lost technique that cuts down so much heat inside. Bricks are horrible at tension but somehow they arrange it with the wooden members going crisscross - making it good in withstanding tension. We can learn such techniques but implementing it depends on how and where we use it.
Interviewed and Curated by
YOU HAVE A LIFE, BUT NO INSURANCE?
article by : Vipin Vetri
illustration by : Harinee Venugopal
Amidst the boom of the Second Industrial Revolution and the city of Madras, an idea emerged for a large-scale shopping area to serve the immensely populated area of Anna Salai. In Chennai's heart, the Bharat Insurance Building stands, conceived initially as the Kardyl building, a neglected Indo-Saracenic marvel. Wrapped in time's tapestry, it whispers tales through weathered arches. Once majestic, now weeping with neglect, it's a symphony of decay, a silent plea for revival.Domes, kissed by the sun, now cradle shadows of indifference. Yet, within, echoes a fervent love for craftsmanship, a melody refusing to fade. Vines embrace columns, but within the dilapidation, a plea for someone to revive its fading flame.
In the clash of preservation and progress, this marvel awaits a caring savior. Beyond peeling paint, a narrative of passion yearns for someone to pen the next chapter. The Bharat Insurance Building beckons for revival, a commitment to safeguard our shared heritage.
Let us unravel the intricate details that make the Bharat Insurance Building a true embodiment of Indo-Saracenic splendor. Imagine standing before the arched entrance, each arch a meticulously crafted gateway into a world of cultural richness. The domes, reminiscent of Mughal architecture, soar majestically, reflecting the grand ambitions of the architects who envisioned this masterpiece. Step into its rooms, adorned with captivating motifs and patterns that hold echoes of a bygone era, each corner revealing a story of artistic expression and historical significance.
As we traverse back in time, the Bharat Insurance Building reveals its vibrant past. Picture the hustle and bustle within its walls during its inception, housing bustling offices that served as the nerve center of a thriving community. It stood not only as a symbol of architectural prowess but also as a beacon of progress and prosperity. In its prime, the building resonated with life, embodying the spirit of an era where every inch of its structure played a role in shaping the cultural landscape of Chennai.
However, a somber shadow now looms over the Bharat Insurance Building. A newer structure has taken center stage, subtly obscuring the historical gem from the prying eyes of those traversing the main road. The once-prominent landmark finds itself at risk of fading into the background, prompting reflection on the fragile state of our cultural heritage. As we witness the changing skyline, questions arise about the cost of progress and the potential loss of architectural treasures that hold the keys to our collective past.
The narrative shifts to the broader issue of passive concealment, where the relentless march of modernity threatens to erase the footprints of the past. This article serves as a poignant exploration of how urban landscapes unwittingly contribute to the fading of historical marvels like the Bharat Insurance Building. The essence of these architectural gems is gradually obscured, leading to a collective amnesia about our cultural heritage. It becomes a call to action to reassess the impact of progress on our historical narrative. The plot thickens with LIC's contemplation of demolishing the structure. In response, organizations like INTACH (Indian National Trust for Art and Cultural Heritage) emerge as guardians of cultural legacy, striving to preserve the building's historical integrity. Uncover the ongoing struggle between the forces of progress and the custodians of heritage, with INTACH's valiant efforts to restore the Bharat Insurance Building to its former glory. The clash of visions becomes a microcosm of the larger debate surrounding the preservation of our architectural heritage in the face of relentless development.
Zooming out from the specifics, the article widens its scope to emphasize the urgent need to spotlight and conserve architectural marvels like the Bharat Insurance Building. These structures, like silent witnesses through time, connect us to our roots and remind us of the tales embedded in their walls. The narrative evolves into a rallying cry to celebrate, cherish, and protect our architectural heritage. It serves as a call to action, urging communities to recognize the importance of these gems, ensuring that they are not relegated to the shadows of forgetfulness.
In conclusion, the Bharat Insurance Building invites us not only to admire its physical grandeur but also to reflect on the significance it holds in our collective history. This article endeavors to bridge the gap between the layman and the intricate world of Indo-Saracenic architecture, weaving a narrative that inspires a renewed appreciation for ourpast. As we stand at the crosroads of progress and preservation, let us strive to unveil, protect, and insure such the hidden gems that define our cultural identity.
We can recall this building from a cult classic film ‘Mouna Raagam’ - a place which is very interesting which makes us undergo mythographic experience but yet, one of the most underrated buildings which is located in downtown Chennai. It is housed on the campus of the Department of Public Instruction, Nungambakkam. Entering this building would feel like entering into a glass bubble. It almost creates an illusion, as though we enter a space that is distant from a busy metropolitan city. Possibly it’s one of India’s oldest surviving lending libraries.
The library was first established in 1812 by the East India Company for the College of Fort St. George so that the English officers that were deputed to India could gather and understand vernacular language and customs. People are what makes the heritage live, and the Madras literary society is one such example. Imagine yourself back in the early days, with the library’s only access through the Coovum Archway at the back of the campus with boats, you would have to take a short voyage which has an astounding scenic route to enter this literary tree. The campus has a lot of palm trees and this locality was named after it, Nungambakkam – “nunga marangal niraindha pakkam” or “the land of palm trees.” The library has 4 entrances in total. The British were trying to design a building that adopted the Indian style - instead they were perplexed by the diversity which was seen in the domain and eventually they mixed many cultures and ethnicities including Islamic, Prussian, Rajasthani, and many others. It is built in a cruciform structure with the four corners having L-shaped rooms and spaces, and even today is almost the same without changes or major renovations. The Rajasthani style has the coat of arms inscribed on the facade and doors. The walls of the library perform a dual function, “The lime plaster walls may not only be intended to keep it cool but also to prevent deterioration of the books.” The roof resembles a madras terrace roof which is also known as - “ acchukal. “
All the doors in the building have an insignia to them, which gives them a unique identity. The building also has a small cloak room on the right-hand side of its entrance where the British officers would hang their coats. The building takes us by a sense of surprise upon entering it by showing a monumental scale with its double height. The building has double layered windows
that filter the sunlight coming through it as the books are light sensitive. There will always be a difference of 6 degree celsius in temperature between the outside and the interiors due to the height of the building. The most alluring factor in this library is the old steel staircase which consists of books that can be accessed through the stairs - entirely made of wrought iron. The purpose of it was to simply increase the storage capacity using a simple design solution. The building has its sensitivity. The library is not an ephemeral interest; its value stays stably.
The library takes you through time and helps you visualise the scenes that took place around a few centuries ago. They also possess a wide variety of rubber stamp collections which envisions the unique characteristics which are distinctive to Chennai. The stamps can be used in postcards that can be kept as mementos from this ensorcelling place. A narrow chauvinistic view might suggest that it is mainly a European collection formed by the Europeans. In the nature of things, as an institution founded by the British in 1812, it is bound to be so, but only to some extent. Since independence books have been brought every month, which have been written by Indians and published in India. The essential character of the library kept evolving according to the cycle of time.
Today the library can be accessed by anyone at a nominal fee. The library has a rich collection of over 80,000 books, manuscripts, and rare first editions — covering a range of subjects including religion, biology, archaeology, and mathematics — along with novels, memoirs, and biographies. It is supported by many patrons through small donations. The library also arranges small walks and bookreading sessions from time to time. In conclusion this hidden gem practically exists out of the time and will continue to display its essence for many generations ahead.
The protagonist entered the mother library with reminiscence of his brother. He wandered in the trapped memories that he perpetually recalled. He headed to the top of the steel staircase and gazed down at the emptiness that this place casted without his brother by his side. He headed to take out their favourite book and started to turn a few pages, and suddenly he found the word “transparency “ which was highlighted. He knew the moment he saw the word that it’s trying to convey something that his brother wanted him to know.
A voice emerged in his head which was clearly his brother’s was screaming, for him to head to the Malabar headquarters. He followed that voice and left determined to find his brother.
In the mesmerizing city of Calicut, where the gentle breeze carries the melodious tunes of folklore from far-off places and the verdant foliage sways to the beat of existence, an edifice stands tall, representing the essence of a symbiotic relationship between humans and the environment - none other than the Malabar Group Headquarters.Nestled on a gently sloping terrain, overlooking the grandeur of the western horizon, the architects were presented with a unique opportunity to showcase their ingenuity and resourcefulness. Undeterred by the complexity of the task at hand, they approached it with passion and dedication, intent on delivering a work of art that harmoniously melds with its environment while commanding attention.As the designers worked on the building, a story started to emerge, one that conveyed the importance of transparency in both literal and figurative senses. The strong and sturdy foundation of the Malabar Group Headquarters, which extended deep into the earth, was symbolic of the building’s connection to nature and represented the firm grounding of the structure.
“The design is resolved as a series of levels along the contours, which reduces the intervention on-site to a minimum,” remarked one architect with a twinkle of pride in his eyes. Indeed, as one gazes upon the structure, it seems to rise from the earth like a natural extension of the landscape. Its terracotta jaalis and greenery blend effortlessly with the verdant surroundings.The journey through the Malabar Group Headquarters is like stepping into a tale of transparency and openness. The lower levels, adorned with intricate patterns and vibrant greenery, beckon visitors to explore further. And as one ascends, each level reveals a new chapter in the story—a chapter of light and space, of connection and collaboration. At the heart of the building lies the reception lounge, a sanctuary of tranquillity amidst the bustling activity. Here, executives gather to exchange ideas and forge partnerships, their conversations flowing like the gentle breeze that rustles through the surrounding foliage.But it is atop the rooftop that the true magic of the Malabar Group Headquarters is revealed—a landscape of dreams that slopes gently down to the ground below. Here, amidst the amphitheatres and lounges, employees gather to unwind and recharge, their laughter echoing against the backdrop
of the setting sun. Yet, amidst th`e beauty and grandeur, there lies a subtle theme—a theme of sustainability and environmental stewardship. “The green roof slopes down to the ground on the South to reduce the intensity of the southern sun,” remarked one architect, a hint of pride in his voice.
Indeed, as one gazes upon the rooftop, it becomes clear that every detail has been meticulously crafted to minimize the building’s environmental footprint.In every corner, every detail, the Malabar Group Headquarters tells a tale of transparency—a tale of honesty, openness, and harmony with the natural world. And as the sun sets over the hills of Calicut, casting its golden glow upon the landscape, The Malabar Group Headquarters stands as a beacon of hope—a reminder that with creativity and innovation, man can build structures that not only stand tall but also stand in harmony with the world around them. As the protagonist stepped into the hallowed halls of the Malabar headquarters, he felt a surge of anticipation mingled with trepidtion. The clue left by his brother had led him here, to this enigmatic placewhere answers lay shrouded in secrecy. Hours slipped by like grains of sand as he scoured the surroundings, his mind a whirlwind of possibilities and uncertainties.
The word “transparent,” highlighted in the book from the Madras Literary Society, echoed in his thoughts, teasing him with its elusive significance.His gaze wandered restlessly until it settled upon a gleaming relic crafted from pure gold. For moments that stretched into eternity, he fixated on it, his thoughts racing to decipher its hidden meaning.Then, like a beacon in the darkness, realization dawned upon him. The clue had been right before his eyes all along, concealed within the very fabric of his surroundings. The relic, a sacred representation of the deity in the Vettuvan Kovil, held the key to unlocking the next chapter of his quest. With newfound clarity, he knew where his path lay. The journey to reveal his father’s true face would take him to the heart of ancient wisdom and divine intervention. With determined steps, he set forth towards Vettuvan Kovil, each footfall a testament to his unwavering resolve.
Glistening under the scorching sun, amidst the massive rock formation that cut through the skyline, stands the infamous Vettuvan Koil. The monolithic temple is located in Kazhugumalai in the Thoothukudi district of Tamil Nadu.
Built-in the 8th Century by the Pandya emperor, Paranthaka Nedunchezhiyan, the temple is inspired by the Ellora temples, which are similar but hold sculptures and motifs that are unique to the Pandyan style of architecture. The temple is cut from a single granite rock and depicts the Hindu mythological deities associated with the principal deity, Shiva. Taking heed of the monolithic structures of Ellora, the temple is carved from the top, as opposed to the conventional method of building from the ground up. While the Pallavas created rock-cut temples utilising the whole hillock, the Pandyas cut out a portion of the mountain and converted it into the temple.
Though the Pandyas excavated rock-cut temples in places like Pillaiyarpatti, Thiruparankundram, Malaiyadikurichi, and Aritapatti, the Vettuvan Kovil is the only Pandya temple in which the sculptures are visible in three dimensions. The construction of the temple makes the eyes of the viewer naturally traverse from the vimana to the garbagriha. As one observes the intricately carved sculptures, chiselled into the stone with delicacy and precision, what is this? A unique feature of the temple sculptures is that most of them are in a relaxed and seated position, which sets the temple apart from others.
A Nandi statue is perched atop the vimana, guarding the temple of Lord Shiva. The Bhoothaganas or followers of Shiva etched onto the temple walls, with their rounded bellies, long, sharp teeth and grotesque faces. The vimana is beautifully adorned, but why does the garbagriha lack grandeur? This is the mystery revolving around the Vettuvan Koil, unfinished to date. While the true reason is only known to those involved in the construction of the temple, there is a legend believed by the people of the land.
Vettuvan, where the temple gets its name, means the one who cuts. The story goes like this…
Hundreds of years ago, the mighty emperor Paranthaka Nedunchezhiyan of the Pandya wished for the temple to display the magnificence of the Pandya art and architecture style and employed a father-son duo to sculpt the masterpiece. The father and son did ruffle each other’s feathers at times but neither knew that the cruel fate had written a gruesome ending to their tale. The son carved the bottom part of the temple while the father sculpted the top.
The story of our father and son is a matter of history. It deviates into two different versions, assimilated from countless tales of witnesses and rumours. One version says that the son had mocked his father, and commented that he would not be able to finish his part of the temple and that it would remain unfinished. His ego was hurt by his son’s words, and the father was overcome by rage and slayed his son. Another version says that the father had tried to teach his son the ins and outs of his trade. However, the son had foregone his father’s orders and started working on the inner chamber or garbagriha of the temple. The father angered by his son’s disobedience, killed him.
As he stepped in, the legend echoed in the protagonist’s mind. What if it was his father who had killed his brother? He was the last one to see him. He looked around and spotted his father’s bag on the floor, near the door to the garbagriha. He tiptoed his way in, and slowly pushed the door. Alas, it was his father standing there and tied to the floor, his brother, alive and scared.
“Father, what is this?”, the protagonist bellowed. The father replied, without turning around, “he knew too much”.
A showcasing opportunity for budding and hidden talents that staged musical performances and network building amongst participants from different institutions. The colourful event was the successful opening of the Nexus journey 2023-24 of zone 6.
Shutter Stroll
A photo walk exploring the essence of British architecture and colonialism in Ooty provided a visual and informative treat to the students on understanding the historical importance of the town of Ooty.
August 2023
Toy Revival Workshop
The workshop served to be an ecstatic initiative of collecting old toys and turning them into new ones as a gift to the children, in collaboration with the ILA foundation.
Photo Workshop
The workshop event featuring Ar.Prashant Mohan, pivoted on teaching the techniques and achieving to apprehend the repute of Photography.
The zonal level online event reached out to bring the best out of potential photographers in the field of Architecture in capturing the spirits in relinquished urbanscapes.
Takshak
Ekaah
The Mega-nexus event, also called to be the mini convention of zone 6 revolved around the theme “expression of art”. It achieved in catering all the learnings and experiences of Architecture and art on a huge platform through series of workshops, talk sessions, gatherings and cultural performances.
Poster Making Competition
The competition brought out the depths of the knowledge of art of making posters for the students to utilise them in voicing out the struggles faced by people all over the world.
NEXUS EVENTS
A cultural visit delving the students deep into the authenticity of traditional performing arts at the Kerala Kalamandalam deemedto-be University of Art and Culture.
To create a desired art out of strings is equal to unleashing the spirits of interest behind decoding the artform itself. Evara focused on bringing students to understand the importance of different materials and the methods of creating string art.
December 2023
The event focused on unraveling the happiness in orphaned children by indulging them in different fun-filled activities and having them experience the thrill of open floors and small cultural performances.
Mudra
Evara
Nyra
Sketch Walk
A fruitful experience of different facets of Architecture through live sketching, comprehending techniques of perspective drawing and watercolours.
L’art Spécial
The event highlighted “Walk with Gita,” an initiative led by Ar.Gita Balakrishnan. L’art Spécial brought delightful engagement of people from various backgrounds to learn about the challenges faced by individuals with disabilities through art and games.
Chennaiyil oru naal
A full learning cum fun experience around Chennai with an informative heritage walk in Mountroad in collaboration with ‘Nam veedu, Nam ooru, Nam kadhai’ followed by a talk and interactive session at ‘semmozhi poonga’ and the beach of Besant nagar.
Dec 2023
An event highlighting the value, techniques and the beauty behind acrylic painting on canvas medium brought the young minds to a common forum radiating the newness of talents beneath the fingertips.
Architalks
An enlightening evening on different perspectives of Architecture as a career path, with a questionnaire session for young minds to acquire knowledge via the online platform.
Blueprint and Beyond
The workshop event by Ar.Ashif Salim featured a talk session on the life beyond designing and Architecture, testing the critical thinking of students on an engaging evening.
N
E US
SANYOG
The visionary initiative of zone 6, focused on establishing networking and bridging the gap between undergraduate students and the students studying in schools, highlighting the importance of being decisive in educational paths.
TESTIMONIALS
The NIT students visited our school one day representing an architecture association. They asked us about what our high study options were, after school. I knew a bit about architecture before, `but they shared more knowledge about it and told that it was a creative career option. My classmates and I discussed about the happening trends, colleges, entrance exams and other related topics on architecture for over an hour or more with the senior Architecture students. The talk session was very fun and informative.
Ramya, Class 11 Student
Sanyog program was really a mind blowing program. It enhanced my thinking towards a creative future. In this talk, they explained about the meaning of architecture and simple implementation of models with different styles of papers and bamboo sticks. Implementation with coloured and styled papers makes us think differently. Implementation with bamboo sticks induced our mind to build with more heights. This program was really an eye opening one which not only made us understand about architecture but
S. Amrish, Class 8 student Shrishti matriculation higher secondary school also made us visualise it.
Blueprint and Beyond
Blueprint Beyond
L’art Spécial
Takshak
“Blueprint & Beyond” workshop was indeed an amazing experience for us students as we got to interact with Ar.Ashif Salim who’s renowned for extremely creative logo designs like the Mammooty Kampany logo. The session wasn’t just about designing logos ,but rather it was stretched to a broader level from his transitional story from an Architecture student to a Graphic designer. We certainly found it interesting that studying architecture can not only make you an architect, but literally shapes you into a different personality that it becomes as a part of yourself. Also we were given group exercises to draw on papers which made us refresh our minds and sharpen our creative brains. I must say the workshop was worth it and instilled creativity and reflection thoughts in our minds. We’ve learn a lot of new things to be taken from this wonderful workshop :)
Beyond” workshop was an amazing experience for us students as we got to interact with Ar.Ashif Salim who’s renowned for extremely creative logo designs like the Mammooty Kampany logo. The session wasn’t just about designing was level student Graphic We certainly it interesting that can an architect, but you personality becomes a part yourself. Also we were exercises draw on which refresh our and brains. I must was worth and minds. to taken this
with
The event commenced with a cheerful concert. The NASA students who had organized the event started explaining to the gathering what universal design was, its importance and why it is essential that all students start implementing solutions in their academic projects.
students who had organized the event started explaining to the gathering what universal design their
The purpose of the ARCAUSE walk, workshops and interactions that were to be held over the next few days were explained and people were encouraged to take part in the same. The audience consisted of not only students from architecture and this event served as a crash course for them on accessibility and how spaces can affect people.
that were to be held over the students from architecture and this event served as a crash
The event was an amazing experience as I got to connect with new people with similar vibes and taste. A great initiative by the chennai nexus team and coming up with an open mic for the first event was a great idea. I had lots of fun after a long time being myself in a safe space. Looking forward to more events from the team.
was an experience as I got to connect people vibes and taste. A great the team and coming up with an the I had after myself a events from the team.
